After Affects - Crossed Wires

V3.18 03/03/2018

COMPLETE SCREENPLAY WITH DIALOGUE & LOCATION REFERENCESMajor rework with option on scenes to address locationissues.

Film produced to create awareness of Foetal Alcohol SpectrumDisorder (FASD) and originally requested by Diane Kashrabi.

Anticipated Runtime approx 40 minutes.

To be filmed mainly in 4K 3840x2160 and edited down to1999x1080 HD cinematic 1.85:1 aspect within full HD 1080p(1920x1080) for distribution. Dolby digital 5.1 surroundsound audio.

1.EXT.DAY.PIER

Location Ref AFX DOpens Panorama style with a wide shot looking down the pier.If pier not feasible, another public place such as Lord St,a pathway in a park or similar can be substituted. Childrenare either playing or are with their parents. Very casualintro.

Lady PRESENTER walks towards the camera. As she walks sheopens with comments about unaffected ‘normal’ children asshe passes them, then moves on to contrast how the samehopes cannot be targeted for FASD sufferers. This sequenceincludes comprehensive background information about FASD,what the condition is, and also how and why the Trust wasset up. With great emphasis she notes that the condition hasbeen known for decades yet has not been flagged upsufficiently and that many GPs do not recognise itssymptoms, with subsequent wrong diagnosis.

As the sequence progresses and the PRESENTER walks closer tothe camera she stops to lean on a railing, sits in ashelter, or any other similar ruse to change viewpoint andcreate a cutting point. The sequence concludes with a slowtrack to full headshot.

PRESENTERFamily life has changed dramaticallyin recent years. More of us areworking mothers and there is morepressure on our leisure time, sowhat's left to actually spend withour young children is getting lessand less.

Which makes it very precious.

We are told that the time we spendwith our children in their earlyyears impacts on them as they growolder. Remember the old saying -give me the boy at seven and I willgive you the man?

Screenplay 1

Well that is just as true for theperiod before birth.

Actually, moreso.

I always wanted children and when Imarried, my mother told me that Ishould not drink alcohol duringpregnancy because it could harm mybaby.

It's a fact that most of us acceptand actually it's been known sincethe early 70's, but like mostothers, I have never known exactlywhat those effects might be, whetherthey would be serious or minor,whether they would be grown out ofin adolescence - or even the measureof alcohol I could consume safely.

What I did not realise was that evena small amount of what is nowreferred to as social drinking couldcause problems.

Big problems.

I was lucky. My children are OK.

But they might not have been.

PRESENTER's voice continues as narration over first elementsof the next sequence to keep continuity and create a link.

PRESENTER

Just the smallest amount of alcoholdrunk when pregnant can triggerhyperactivity, poor memory,expressive and language problems,deep social issues and even pain andtoileting issues.

And, no, these are not childishailments. They are lifelongafflictions known as Foetal AlcoholSpectrum Disorder, or FASD.

Sequence depicts a clearly happy family where wife/motherLAURA and her husband NATHAN are winding down in the eveningand chatting about their day and expected new baby.Commences with LAURA reading a bedtime story to herdaughter.

2.INT.BEDROOM NIGHT

Location Ref AFX B1

LAURAAnd soon, the princess had a babybrother, so the King and Queen threw

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a big party.

It was a real birthday party for anew prince.

But when the invitations were sentout . . . . .

EMMAMummy -

Was the party like my party Mummy?

Did the prince have a real birthdaycake?

Pause

EMMAMummy.

Mummy.

Did he Mummy?

Mummy.

Are you sleeping Mummy?

Drowsily

LAURAOf course not, silly.

EMMASo why were your eyes closed andyour mouth open so ooooooo widethen?

LAURAI was just yawning princess. I'vebeen working so hard. I was justyawning.

EMMAIf I'm your princess, does that meanthat we're getting a new prince. AmI getting a baby brother too?

Am I Mummy.

LAURAToo many questions young lady.

OK. Settle down.

Where was I

Right. Here we are.

When the invitations were sent outeveryone was happy. All the King and

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Queen's subjects started bakingcakes and making the finest partyclothes that they could.

And the little princess fell asleep,and when she woke up the nextmorning she had forgotten all aboutlittle princes.

EMMA is fast asleep. LAURA puts the story book down, walksto the door, switches the light off, looks back smiling, andthen exits.

3.INT.NIGHT.LIVING ROOM B

Location Ref AFX B2

A homely living room with a small side table in a cornerbetween next to a sofa. There is a door at the opposite sideof the sofa and another sofa. NATHAN is relaxing on thesecond sofa watching a news programme on the TV. The dooropens and LAURA enters the room. She stops beside NATHAN.Obviously tired, looking down at NATHAN she runs her handsthrough her hair. NATHAN looks back up at her.

NATHANHas she gone off?

LAURAYes, she's well away.

NATHANYou're better at that than me, Ifall asleep reading the story withEmma still wide awake.

LAURAI nearly was too.

There's something about fairystories that's quite soothing.

Laura looks across at the TV.

LAURAWhat are you watching?

NATHANNothing much.

I thought that there was a match onbut there's not. And there's nothinggood in the news these days either.

Laura picks up the TV remote from the sofa arm and clicksthe TV off, then walks over to the main sofa and sits down,putting her legs up, relieved.

NATHANThat's better. A bit of peace andquiet.

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I'm having a glass of white. Do youfancy one?

LAURAOf course I do.

But I don't think I should . . . .you know, with being pregnant.

I'll make a cup of tea in a minute.

NATHANFor heaven's sake Laura, we're notalcoholics. We've both had a hardday and one glass isn't going tohurt you.

LAURAYou're right.

It's been a pig of a day. I gotroped in to that Client dispute withMr Jacobs. It went on and on so Iwas late picking Emma up fromnursery. Mrs Davies gave me a realticking off for being late.

So I was already behind when I gothome and I never caught up.

OK, just pour me a small one.

NATHAN gets up and goes over to the side table to fix thedrinks.

NATHANYou got it.

NATHAN looks back at LAURA as he pours the drinks.

I could have picked Emma up youknow. You're doing too much. Justback off a bit and let me do my bittoo.

NATHAN gives LAURA a glass of wine.

LAURAThanks love.

She takes sip.

Oh, that's nice. Just what I need.

NATHAN moves LAURA's legs so that he can sit down next toher. He sits down on the sofa next to LAURA and LAURA leansin to him.

LAURADon't worry, there'll be time forthat. I'm trying to carry on asnormal for as long as I can. I'm not

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ill you you know. Being pregnantdoesn't mean I have suddenly becomean invalid.

I'm not showing yet so I've not toldthem at work yet.

You know, just to be on the safeside.

NATHANI can't see why not. You've got pastthe initial stages bit. What's to gowrong? I think it's more importantthat you take it easy.

And if you've not told them, thenthey're not going to make anyconcessions for you are they?

LAURAI don't want any concessions. I'mexpecting our second child, notturning into a geriatric.

NATHANBut you know what you were like withEmma. And it's not going to geteasier is it?

We don't need you to work. We canmanage. Why don't you just pack in?Stay at home. Take it easy.

LAURAI'll think about it.

OK?

It's just. . . . I don't know, I'monly just getting back into theswing of things after Emma. I'mcomfortable with it all again now.

It's not just a job Nathan. I lovemy job and this is my career. Thebaby was a shock. It wasn't plannedand I don't know if I am ready yet.

Heavens Nathan, Emma's not even atproper school yet and here comes hersister.

NATHANSister? Sister? I thought you'd nothad the scan yet.

LAURAI haven't. She could just as easilyhave a brother. There hasn't beentime to arrange it. I've been toobusy.

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NATHANTime?

Of course there's been time.

You and Emma are the most importantthings in my life.

And the baby of course.

NATHAN gets up. He is clearly concerned. Suddenly it allclicks and waving his arms about and walking to and fro infront away from and towards the sofa he decides what to do,putting his foot down and telling LAURA what she WILL do.

NATHANLaura.

Nothing is more important.

This is our family we are talkingabout.

We'll find time to have the scan andits the that can wait.

That's it.

You can tell old what's his namethat he can stuff his job where thesun doesn't shine. He can run hisbusiness himself.

And Mr Jacobs can cause whateverproblems he wants for all I care.You're precious to me and you arestopping work now.

From now on you're a stay at homemum. I'll phone tomorrow and get ascan arranged.

And you . . . . you can keep yourfeet up my girl.

FTB

4.INT.DAY.LIVING ROOM A

Location Ref AFX A

Untidy room with bottles and glasses left around. JESSICA ismoving things around aimlessly. In the background a TV isswitched on with the sound muted. She has a glass in herhand. She sits on the sofa and picks up a magazine andstarts to read. Unable to concentrate she throws it down.

JESSICA gets up and walks across the room and picks up achild's soft toy. She hugs it to herself. Looking around shesees several other toys and picks a couple up rathersorrowfully.

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Rather muffled, the telephone rings.With a depressed look she dejectedly tosses the toy down.The telephone is still ringing.

JESSICA moves around the room moving cushions, magazines andbottles with her free hand, looking for the handset, talkingto herself as the phone keeps ringing.

JESSICAWhere are you?

Where are you hiding?

All right. All right I'm coming.

She throws a magazine off a chair and onto the floor thenlifts another cushion where she finds the handset. Theringing becomes louder and clearer.

JESSICAAh, there you are.

She presses the connect key to stop the ringing then putsthe handset to her ear. In this sequence SUSAN's voice isheard as the caller.

JESSICAHello?

SUSANIs that you Jess?

JESSICAYes, of course it's me.

SUSANYou were a long time. Didn't youhear the phone?

JESSICANo, I couldn't find the bloodyphone, that's all.

What do you want?

Pause while listening. With the phone in one hand and theglass in the other she falls back into a chair, throwing herlegs over the arm.

SUSANI thought we could meet up.You know, go for a drink.

JESSICAYeah. Of course I'll come. Drown mybloody sorrows can't I?

Pause while listening. Takes sips from the glass.

SUSANOK.When?

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I'm at a free end now.But we could go at weekend if youare busy.

JESSICANo, I can go now, I can go tonightand I can go tomorrow morning.

I can go any bloody time.

Pause while listening.

SUSANI'm surprised you were in.You know. . . . . thought you'd beat work.

It's difficult meeting up when Iwork nights but your job is daytime.

JESSICANot got one.Not any more anyway.I'm as free as a bird.Time's all mine now.

Pause while listening. Takes sips from the glass.

SUSANWhat?

JESSICAI told you. I've not got a job. Notgot children. Not got a care in thebloody world have I?

JESSICA gets up and still holding the now empty glass walksaround waving her arm, while listening. She tries to take amouthful but the glass is empty. She turns it upside downthen tosses it onto a chair or sofa in disgust.

JESSICAI've been sacked.Called me in and said I wasn'treliable didn't they?They just paid me off with a fewquid and that was it.

SUSANDon't you have to be at the schoolfor three?

JESSICAKids?Jilly's gone too.A snotty nosed bitch from thecouncil came round and said I wasn'ta fit mother.

She called me an alki.

Well I'm not am I?

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Yeah, I like a drink but I'm not analki . . . . . am I?

JESSICA rights her glass, picks up an open bottle and poursa measure into the glass then takes a mouthful whilelistening.

SUSANJess.

Jess.

Jess, isn't Jilly there with you?

JESSICANo, like I said, she's gone.Two others came round yesterday andtook her away.

Yeah, just like that.

So I'm on my own. Just me, somevodka and the TV remote - when I canbloody find it.

She puts the glass down then looks around for the remotewhile listening. When she finds it she points it at the TVand switches it off.

SUSANJess.

Stop talking nonsense.

Are you coming or what?

JESSICAOK.

SUSANWhat?

JESSICAI said OK.

OK, right?

SUSANWhen?Now?

JESSICAYeah, ten minutes and I'll be there.

SUSANWhat do you want . . . a burger?

JESSICANo, I don't need nothing to eat.What I need is a drink to calm mynerves.

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SUSANA glass of red?

JESSICAYeah. Get me one in if you're therefirst. See you in ten.

FTB

5.INT.DAY.PUB

Location Ref AFX E

In a pub.

Sequence opens with shot of the bar where a BARMAN ispolishing wine glasses. He looks across to left of cameraand raises his eyebrows.

Cut to view from behind the bar looking past the BARMAN towhere SUSAN is sitting at a table. She raises her emptyglass and indicates that she wants a refill.

Cut back to original view.

Still looking to camera left, the BARMAN looks in SUSAN'Sdirection and holds one finger up questioningly.

Cut back to SUSAN who shakes her head, moths the word 'two'and holds two fingers up.

Cut back to BARMAN who nods, reaches for a wine bottle andpours two glasses, picks them up and walks out of shot(implication is he is taking the glasses to Susan.

5B.EXT.DAY.PUB ENTRANCE

Jessica approaches the pub and enters the main doors.

5C.INT.DAY.PUB FOYER

Cut on action from previous shot.Camera angle shows main entrance doors.Pub doors open and JESSICA walks in.

5D. INT.DAY.PUB

Clearly not happy, JESSICA looks around then nods when shespots Susan (out of shot). JESSICA walks over to where SUSANis sitting, pulls out a chair and sits down. There are twodrinks on the table.

SUSAN eyes JESSICA with curiosity as she sits down. Nothingis said but the atmosphere is frosty with JESSICA lookingsorrowful and SUSAN inquisitive.

This sequence shot with longish view camera 1 on slider forvery slow zooms in and out combined with lateral slides.OPTION 1:Camera 2 static for alternative B-Roll.OPTION 2: Scene rerun second time with main camera in B-Rollposition.Camera 3 SJCAM on table for headshot.

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After a pause, SUSAN breaks the silence.

SUSANWhat's it all about Jess?

You didn't make sense on the phone.

And you look like shit.

What was all that rubbish about?They can't just take your kids awaylike that. Come on Jess, it can't bethat bad.

JESSICA takes a mouthful of her drink, glances at SUSAN,then looks down at her glass. Her next dialogue is deliveredwithout looking at SUSAN.

JESSICAWell, they have haven't they?

I told you, a stuck up bitch cameand said they would. You know, takeher away.

But that's not all. She said thatonce they had taken Jilly, then thatwould stop me being a mother 'causethey'd take any others too.

I thought she was bluffing.

But yesterday a right obnoxiouswoman and a bloke - a bloody smarmytype he was - they came together andtook her away.

JESSICA looks appealingly at SUSAN

My Jilly's gone Sue.

I keep picking her toys up andbursting into tears.

Why's this happening to me Sue?

JESSICA looks down into her glass, swirling the drinkaround.

SUSANThat must have been awful.

I bet little Jilly was scared stiff.Did she go with them OK?

JESSICAShe's not two until next month.

She stamped and screamed.

They had some legal looking papersand it was two to one.

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I didn't know what to do.

JESSICA slowly turns to SUSAN and looks her in the eye.

JESSICAI cried all day after she had gone.

SUSANI'll bet.

What did the woman mean aboutothers? You haven't got any otherkids.

JESSICANot yet.

JESSICA looks down at her glass again. SUSAN looksquestioningly at JESSICA. JESSICA catches a quick glance atSUSAN then looks down again. SUSAN realises what JESSICA isimplying and looks at JESSICA questioningly.

SUSANOh no. Jess, you're not - are you?

Jessica continues to look into her glass. Slowly she liftsher head to look directly at SUSAN who is just taking a sipof wine.

JESSICAYeah.

SUSAN raises her eyebrows is surprise and slowly lowers herglass to the table, putting it down gently.

SUSANBloody hell.

Who's is it?I didn't know you were with anyoneJess.

And when's it due?

JESSICAI don't know. I don't know shit all.

I haven't been with anyone - notsince Jilly was born and Mark leftanyway.

SUSAN looks at JESSICA with a sarcastic look on her face andleans back in her chair.

SUSANDon't give me that. You must havebeen.

Get real Jess.

There's only been Jesus bornwithout, so you've been with

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someone. Who is it Jess?

JESSICA slams her glass onto the table then in dispair poursher heart out.

JESSICAI told you, I don't know. Honest Idon't.

I missed two months so I got atesting kit from Boots and it cameup positive. The next day they tookJilly which really put the tin haton it.

I've not been with no one.

Not that I can remember anyway.

But when I worked it back, thetiming fits in with Becky's party.

JESSICA looks questioningly at SUSAN.

JESSICADid you see who I left with?

SUSANThat was a good night.

I remember that dark haired lad wasall over you - but I didn't see youleave. I'd never seen him in my lifebefore. Who was he? Did you take himhome?

JESSICAI don't know. I can't remember.

But when I woke up the next day Ihad the mother of all hangovers.

SUSANI'm not surprised. You really had askinful that night. You're going tohave to cut back Jess.

JESSICAOh shut up Sue.

Not you as well.

I thought that you were my friend.That's all I need. Another bloodydo-gooder lecturing me on what Ishould eat and drink and how Ishould bring my kids up.

SUSAN reaches out and puts her hand on JESSICA's arm

SUSANCalm down.

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I'm just saying, that's all.

Who was he Jess?Did you take him home?

JESSICAI don't know.

I just can't remember.

I asked Becky but she doesn't knoweither. She said he must have been agatecrasher.

But somebody had been in mybathroom.

My head was banging and I justthought maybe I had left mytoothbrush and toothpaste out -

but I don't Sue. I never do.

SUSANSo that must be it then. Have youtold him?

JESSICAAren't you bloody listening?

I just told you - I don't know whohe is do I?

JESSICA looks away and says half to herself . .

I'm only just off anyway.

Perhaps I'll be able to get Jillyback and keep this new one too.

JESSICA turns back and looks SUSAN in the eye

It's all shit Sue.My life's shit.

I need a drink.

JESSICA raises her now empty glass and waives it at thebarman (out of shot) to indicate that she wants a refill.

When she gets no response she looks down at the table,sighs, looks at SUSAN, then raises her glass and signalsagain. SUSAN looks on questioningly at JESSICA throughout.

When there is still no response she gets up and walksunsteadily to the bar, putting her empty glass down heavilyon the bar. The barman shakes his head, takes her emptyglass and puts it under the counter, then walks away out ofshot.

SUSAN gets up, walks over and takes JESSICA'S arm then leadsher away from the bar towards the door, leaving go of her

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after a few steps.

Now very unsteady, JESSICA trips and falls.

SUSAN struggles to help her up, leads her to the door andout of the pub.

FTB

6.EXT.DAY.ENTRANCE OF HOSPITAL 1

Location Ref AFX G

Overlaid lower third ident - seven months later

No dialogue in this scene - all SFX, Foley and music.

Initial intro shot is over the bonnet of a car looking downa path leading to hospital doors with MATERNITY signageabove. Camera angle/view changes through the scene. Thedoors of the hospital open and NATHAN, LAURA, and EMMA 3 yrscome out. Laura is carrying new baby JAMES, squatting downso that EMMA can see him. EMMA is fawning over her newbrother. NATHAN is fussing around them. After some time herushes off towards camera and out of shot, returning with ababy seat.

Nathan struggles to open up the baby seat. There is a delayuntil he manages to get the handle and fittings sorted. Thefamily group proceed down the path towards the car (camera)where Nathan dashes around opening doors, strapping the carseat & baby into the rear seat, guiding Emma to the oppositeside rear seat, closing doors, helping Laura into thepassenger seat etc and generally fussing over his family.

Eventually the drive away out of shot.

Camera remains on path/doors with PRESENTER narration over

6B.EXT.DAY.ENTRANCE OF HOSPITAL 1

Location Ref AFX G

Continuation

PRESENTER v/o outlines that where known alcoholic mothershave had their children removed, often, when they give birthto another baby it will be taken off them.

PRESENTERIt's heart warming watching a happyfather collecting his wife and theirnew baby from hospital.

But what about poor Jessica?

Doors open and JESSICA walks out. She is alone and nothappy. She does not have her baby. She pulls her coat closearound her and takes a few steps away from the hospitaldoors then stops, turns slowly and looks back, specificallylooking up above the doors (out of shot). B Roll cutaway ofMATERNITY signage. Cut back to JESSICA.

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She walks away from the doors. Dabs her eyes. Pulls her coataround her again.

New viewpoint from behind JESSICA as she walks away from thedoors. SUSAN is waiting for her at the corner of the carpark. As JESSICA reaches SUSAN, SUSAN holds out her hands,takes JESSICA and pulls her close, giving her a hug. JESSICAbreaks down and sobs on SUSAN's shoulder. They turn and walkaway with JESSICA linking SUSAN's arm.

As they walk away, J Cut into next scene

7.EXT.DAY.PIER

Location Ref AFX D

PRESENTERBecause as a known alcoholic, herprevious child had been put intocare, she was not allowed to keepher new baby either.

It's sad for Jessica - no motherwants her baby taken away - but whatif the foster parents aren't awareof the circumstances? Will themedical professionals step in andhelp?

It's a minefield.

And for both babies there could belots of pitfalls.

FTB

8.EXT.DAY.PARK

Location Ref AFX J

Overlaid lower third ident - Three years later

LAURA and NATHAN are sitting at a park table table with acoffee or snack. A child play area is behind where JAMES3yrs can be seen playing with EMMA 6 yrs.

**NOTE**

This scene can be filmed with some green screen angles toenable the children to be filmed separately from the adults.In that case, angles and camera moves will be morecompromised and less fluid.*******

LAURA and NATHAN are discussing JAMES' progress andcomparing him with EMMA at similar ages. In comparison he isnot making the same progress and is falling behind. He isalso withdrawn and not able to cope with routine changes.The more visual elements of FASD such as tantrums, notgetting involved etc to be played out by JAMES in thebackground.

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LAURADon't you think that you are being abit paranoid?

It's not fair comparing James toEmma. She has always been bright.James is only three, There's plentyof time. He doesn't start school foranother year and a half.

NATHANMaybe.

But just think back to when she washis age. She was much more outgoing.She made friends easily. She was,well, more normal.

He's different.He doesn't make friends does he?And if we change his routine he goesbananas.

LAURAThat's no different to many childrenNathan.

We are human beings, not robots ormachines.

Children grow up differently. Theyall have their own littlepersonalities. She went through theterrible twos stage but James isjust one of the quiet ones, that'sall.

NATHANNo Laura, I don't buy it.

Yes, he's quiet, but that's not thefull picture.

Look at him Laura, he's not beingquiet now is he? And he's alwayshaving tantrums.

In the background little JAMES is remonstrating against hissister EMMA, striding off and sitting on his own, his armsfolded and his face glum.

NATHANThere's something wrong Laura. It'snot as simple as just Emma beingbright and James being quiet.

He is quite bright anyway.

Actually, with some things he copesbetter than Emma did at his age. Butthere's something I can't put myfinger on. Something is wrong. I

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know it.

I wish it wasn't, but I am sure thatthere is.

I am scared Laura.

LAURADon't be silly. He'll grow out ofit. Just like little David did.

NATHANWho's David then?

LAURAThe little boy that had the birthdayparty Emma went to last week?

At James' age his legs were so bandyyou could have driven a trainbetween them. He looked like JohnWayne in those old cowboy movies -and his dad used to call him Sumo.

Well their doctor said he would growout of it.

And he has. The doc was right.That's the important thing.

David's legs are straight now andhe's quite tall for his age.

It's amazing what can happen inthree or four years.

NATHANThat's what worries me Laura.

I am sure that there is somethingwrong. And if we don't do somethingnow, then in three or four years itcould be much worse.

LAURADo what exactly?

NATHANI haven't the faintest idea. But weneed to do something.

LAURA looks frustratedly at Nathan then over at the twochildren who are still playing. Then she looks back atNathan and, rather grudgingly, nods in resignation.

FTB

9 EXT.DAY.NURSERY

Location Ref AFX F1

Opens with vehicle pulling up at the roadside and CHELSEA

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getting out. She dashes down a path to an entryphonecontrolled door, obviously late / in a rush.

CHELSEA presses the door intercom button and a distant doorbuzzer sounds. There is a delay and CHELSEA is irritated(because she is late). She presses the button again andmutters under her breath.

CHELSEACome on, come on.

There is another slight delay before the speaker cracklesand a voice replies.

MRS DAVIESHello

CHELSEAHello, it's Chelsea to collect Liam.I am sorry I am late.I got held up. I hope I've notinconvenienced you.

MRS DAVIESNot to worry.

Actually, it's worked out fine. Iwanted to have a word with you andthe others have all gone so it'sideal.

Come on in.I'll meet you inside.

There is a click as the entryphone closes.CHELSEA opens the door and enters.

10. INT.DAY.NURSERY

Location Ref AFX F1

MRS DAVIES meets CHELSEA and leads her over to a smalltable. Behind them is a children's play area where LIAM 3 isplaying on his own.

Throughout the following dialogue Liam plays on his own butis fidgety and downcast. He sits on a child chair and swingshis foot about and is generally inattentive.

CHELSEAWhat's the problem?

MRS DAVIESWe have some concerns about Liam. Heisn't progressing in the way weexpect and he's certainly notcommunicating. While he is matchingthe others in some respects, hedoesn't seem on the same level inothers.

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CHELSEAIsn't that usual though? Don'tchildren progress at differentspeeds?

MRS DAVIESYes, of course.

That's not what concerns us though.

Just look at him now.He's quite forlorn.

Both women turn to look over at LIAM.

MRS DAVIESHe's often like that, even whenother children are around.

He doesn't seem to be able tocommunicate with the other childrenand won't mix. Then at other timeshe's quite hyperactive.

And he is making some clingingassociations. That's not normal.

CHELSEAHe is quite clingy with us at home.And since we don't have otherchildren there's nobody his age athome so perhaps that's the problem.

Would it help if I invite some ofthe mothers to bring their childrenround to play - you know, to helphim to mix?

MRS DAVIESNo, I don't think so.

It's more complex than that, withseveral different issues, some ofthem not usually apparent in thesame child if you know what I mean.There's nothing that flags up asbeing really serious at this age butcollectively they could indicate adeeper problem.

My suggestion is that you let yourGP have a look at him.

CHELSEA looks at MRS DAVIES suddenly, shocked by themanager's suggestion.

CHELSEAOur doctor?

Surely it's not that serious?

MRS DAVIES

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I really don't know.

But I do advise you to get himchecked out. Better safe than sorryChelsea.

CHELSEAYou sound as if you suspectsomething specific.

MRS DAVIESMaybe.

But I'm not sure so I do suggestthat you get him checked soonerrather than later. If it is nothingthen OK.

CHELSEA frowns, bites her lip, then gets up from he chairand walks over to LIAM. She squats down to Liam's level.

CHELSEAOK little man, have you had a goodday today?

LIAM just nods.

CHELSEAAre you ready to go home?

Again, LIAM just nods. CHELSEA takes his hand, LIAM standsup and the pair walk to the exit door, CHELSEA and MRSDAVIES exchanging weak, strained smiles as they pass andCHELSEA and LIAM leave.

FTB

11.INT.DAY.LIVING/DINING/KITCHEN ROOM C

Location Ref AFX C1

CHELSEA is standing at the window looking out into thegarden. The angle to be carefully chosen so that the viewinto the garden is either blown or blurred so that Liam (whois supposed to be in the garden) is not seen. JOEL entersthe room and starts talking to CHELSEA as he walks over to asofa at the back of the room.

JOELI sealed that order today Chel. Itwill make a big difference to mybonus.

Let's see, five mill at two percentplus one mill at half a percent.Share that three ways, then add inmy lead enhance . . .

CHELSEA is pensive at the window.

CHELSEAThe nursery manager called me in

Screenplay 22

today Joel.

JOELThat's thousands for us girl.

New clothes for us all, a holiday inthe States or . . .

CHELSEAShe wanted to talk about Liam

JOELA new car if you want one . .

CHELSEA turns from the window and remonstrates with JOEL.

CHELSEAJoel.Stop it.Just listen will you?

JOEL stops mid phrase and looks at CHELSEA with puzzlement.He looks back at CHELSEA and pats the seat at the side ofhim.

JOELWhat is is love?What's happened?

Come here love.

Looking pensive and concerned, CHELSEA walks slowly from thewindow to take a seat on the sofa next to JOEL.

CHELSEANothing.Nothing has happened.Not yet anyway.But it could do.

She runs her fingers through her hair, a worried expressionon her face.

CHELSEAThe manager grabbed me when I pickedLiam up from the nursery. She saidthey were concerned about Liam.

JOEL stands up and walks over to the window, the implicationbeing that he is watching LIAM. After a few seconds justwatching he walks back to the sofa, sits down again andturns to speak to CHELSEA, taking her hands in his whilecatching quick glances towards the garden several timesthrough the following conversation.

JOELLike what?

Is he beating his classmates up,bullying them or something?

Come on Chelsea, he's only three.

Screenplay 23

What's the problem?

CHELSEAShe said he's not communicating.He's not doing the same things thatthe others are. Sometimes he'sclingy and other times he'shyperactive.

JOELSo where's the problem then?

All children are different. Itdoesn't mean that there's anythingwrong.

JOEL gets up and walks back to the window as he continues,turning to look at CHELSEA as he talks .. While he istalking, CHELSEA gets up and joins him at the window.

JOELI'll grant you that it's a bitharder for us to judge because as anadopted child we don't have anyfamily history to compare with, sowe cannot say he's like his mum orlike his dad. We just don't know.

He could be couldn't he?

His mum or dad could be poorcommunicators or something. Let'sface it, we don't know a thing aboutthem so he could just be followingin their footsteps.

Couldn't he?

CHELSEAI suppose.

JOELAs far as I can see, Liam is just anormal little three year old. Justlook at him

At the moment he's happily amusinghimself. Perhaps he's just a littleinsular because we have no otherchildren.

JOEL turns to CHELSEA and holds her by the shoulders,forcing her to look at him.

JOELI've got it.Why don't we adopt a brother orsister for Liam. You know, give himsome company his own age at home.That might help.

CHELSEA

Screenplay 24

I don't know Joel.

I was devastated when we couldn'thave children of our own. And Liamhas been a real blessing.

But this whole parenting thing isn'teasy is it?

We are learning as we go along andadopting another child could take along time. We should take theprofessional's advice Joel. It'squicker.

JOELProfessional?What professional?

CHELSEAThe nursery staff. they work withchildren all the time and recognisethings long before we could.

JOELSo what do they say we should dothen?

CHELSEAShe said we should take him to ourGP.

JOELOK. Let's do it then.

I think it's a waste of time, butwhy not?

I'll ring tomorrow.

CHELSEA sits heavily in a chair at the table, then looks upat JOEL.

CHELSEAYou don't need to. I've already doneit.

9:30 tomorrow morning.

FTB

12.EXT.DAY.PIER

Location Ref AFX D

Link using visual location of introduction sequence.

PRESENTERAccurate diagnosis is one of thebiggest problems facing adoptiveparents and birth parents alike.Adoptive parents often have no

Screenplay 25

knowledge of their children's birthmother and even birth parents tendto look for conventional reasons fortheir children's unexpectedbehavioural traits.

So they turn to their doctor.Well, you would wouldn't you?

But although FASD has been aroundfor decades, some symptoms aresimilar to more recognisableconditions like autism or a simplelearning disability, so GP's who aresimply not tuned in can misdiagnose.

So when a more knowledgeable paediatrician does get involved andidentifies the real cause, it can bedevastating.

13.EXT.DAY.ENTRANCE OF HOSPITAL 2

Location Ref AFX H1

CHELSEA approaches the hospital entrance, opens the door andgo in.

14.INT. CORRIDOR OF HOSPITAL 2

Location Ref AFX H2

CHELSEA approaches a reception desk, talks to thereceptionist who picks up a phone and talks to somebodywhile they wait. The receptionist then gestures that CHELSEAcan proceed.

CHELSEA walks down a corridor checking nameplates. Stops atone with the paediatrician's name on it, knocks and waitsfor a response. When a 'come in' is heard she opens the doorand enters.

FTB

15.INT. CONSULTING ROOM

Location Ref AFX H3

Fade in.Paediatrician is facing camera. Viewpoint is over CHELSEA.PAEDIATRICIAN talks directly to her (direct to camera),giving his diagnosis. The words 'I am sorry' feature.

PAEDIATRICIANHello Chelsea.

Can I call you Chelsea?This isn't easy and first names area bit more friendly.

OK then.

Screenplay 26

Liam is a lovely little boy.But I have identified some issues.

Have you noticed anything specificrecently?

Well, you must have or you wouldn'thave come to me.

CHELSEADo you mean autism?Our GP said that he could beautistic. Is that what you mean?

I thought that he wasn't progressingnormally. You know, like others hisage.

Joel - that's my husband - Joelthinks that children progress atdifferent rates and that he willcatch up later.

Oh, Doctor, I am so confused.What's wrong with him?

PAEDIATRICIANLet me explain.

No, he isn't autistic, though someof the symptoms could suggest thatand many GP's don't recognise thedifference.

CHELSEAWhat difference Doctor? I don'tunderstand.

PAEDIATRICIANIt's F.A.S.D, which stands forFoetal Alcohol Spectrum Disorder.

It doesn't always occur, but it cando if a woman drinks alcohol duringpregnancy. It then results in arange of issues and some, likehyperactivity and learningdisabilities can be confused withother conditions.

CHELSEAAre you sure?

No, that cannot be right.

You must be wrong doctor.

It doesn't add up.His birth mother couldn't afford tobuy alcohol anyway so there must bea different reason.

Screenplay 27

The adoption agency said that hisbirth mother couldn't afford to keephim. She'd even had to give herother child up because she had nomoney and nowhere to live.

But they said that Liam was fine.They said that he was a normal baby.

And he was.Really he was.

PAEDIATRICIANNo, I am sorry, he wasn't.

CHELSEAThey said he was normal.Honestly they did.

It was just a financial issue forthe mother.

PAEDIATRICIANI'm sorry. That's not true.

CHELSEA starts to butt in again but the PAEDIATRICIAN stopsher.

PAEDIATRICIANNo Chelsea.Let me explain.I've done some checking.

The truth is that Liam's birthmother WAS an alcoholic. That's whyher first child was taken away - notfinancial.

Liam has F.A.S.D.

I am afraid that with his mother'shistory there was always going to bea high chance of it. You should havebeen told that it was a possibility.

CHELSEAWe weren't.

Will he grow out of it? What can wedo?

PAEDIATRICIANNo. I'm afraid not.

It's not a childhood ailment so he'snot going to grow out of it. It's alifelong condition.

He'll always have F.A.S.D and hewill always have some problems, butthey can be reduced with yoursupport. I must warn you though, it

Screenplay 28

isn't going to be easy.

CHELSEAWhy does the mother drinking causeproblems for her baby. And what sortof problems anyway?

PAEDIATRICIANAn adult liver can dispose ofalcohol but the foetus can't, it'sliver just isn't developed enough. And that can result in brain damage.

If that is not diagnosed andsupported in school, then the childcould go on to develop the secondarydisabilities associated withF.A.S.D. such as mental healthproblems, poor school experiences,trouble with the law, incarceration,inappropriate sexual behaviours anddrug and alcohol abuse.

CHELSEAThat's awful.

Are you saying that Liam is going tobe a criminal?

How can you say that - he's onlythree for God's sake.

PAEDIATRICIANNo, of course I am not.Liam is one of the lucky ones.

You are in a good position.

Your GP recognised the symptoms andreferred you to me.

It's early days and we can . . . .

CHELSEANo he didn't.

He said Liam was just a slow starterand that if we spent time with himhe could catch up.

So how the hell can you call thatlucky?

It was Mrs Davies who spotted it.She made us go back and demand asecond opinion.

PAEDIATRICIANWho's Mrs Davies?

CHELSEA

Screenplay 29

She's the manager at the nursery.

PAEDIATRICIANYou are right. It wasn't lucky.

But that manager was very observant,which is fortunate.

Look Chelsea, I know this must allhave come as a shock. And in my viewthe adoption agency should havewarned you of the mother's history.

But it's been identified early, soif we work together we can minimisethe impact and avoid it everdeveloping into secondarydisabilities.

CHELSEA is visually devastated.

FTB

16.INT.DAY.LIVING/DINING/KITCHEN ROOM C

Location Ref AFX C1

Shot from behind, CHELSEA and her mother BARBARA arestanding between a refectory table looking through a largepicture window out into the garden. Outside, Liam is playingwith his granddad, CHELSEA's father, PHILIP.

BARBARAJust look at them. He's a reallyhappy little boy. He's just slowdeveloping, that's all.

CHELSEANo Mum. I've told you, it's F.A.S.D.The paediatrician explained it all.

BARBARAYou told me all that love.

But look at them.

Your Dad adores him, and so do I.

How can you say he's got thatalcohol thing when he's so happy?

CHELSEABut he's not like that all the timeMum. Sometimes he's just, well,different. We didn't really noticeit ourselves at first - it was thenursery manager - but since we weregiven the diagnosis we've beenwatching him like a hawk, lookingfor tell tale signs, you know?

And they're right. He doesn't mix

Screenplay 30

properly with the other children atplayschool and sometimes he getsfretful if we change his routine.

I can't stop thinking about it Mum.He's on my mind every second of theday.

And I can't sleep at night either.Since this all came out I've notslept a wink.

I love him to bits Mum, but I can'thandle this. What's going to becomeof him?

BARBARAPerhaps they're wrong. They're notinfallible you know.

Where's Joel anyway? He's neveraround when he's needed. He shouldbe supporting you.

16B.EXT.DAY.GARDEN HOUSE C

Location Ref AFX C2

The two women open the dining area door and go outside,closer to to Liam and Philip

CHELSEAHe's been a rock Mum.

We've both been worried - still are- but Joel has been wonderful. I'vehardly stopped crying for a week andI know it's hurting him just asmuch, but he's been there all thetime for me.

BARBARAWell he's not here now, is he?

CHELSEAHe's had to go back to theauthority. He had a go at them whenwe first found out what Liam'sproblem was, you know, to find outwhy they didn't tell us about Liam'smother and to try and get some helpand they've called him in for somesort of meeting.

He should have been back before youarrived but I think that that's hiscar now.

BARBARA and CHELSEA join LIAM and PHILIP in their game.After a short while, JOEL appears at the dining area door.His face is ashen. The meeting clearly did not go well.CHELSEA, BARBARA and PHILIP all turn towards him

Screenplay 31

expectantly. Liam runs to him and clutches his legs,lovingly.

CHELSEAWell, what was it all about?What did they want.

JOELThey want him back Chel.

They lied to us in the first place.And now that we've found out,they're taking him away.

JOEL puts his head in his hands and is clearly close totears.

JOELGod, Chel.

What the hell can I do?

I love that little chap. He's ours.How can I stop them doing this tous?

FTB

17.INT.DAY.KITCHEN B

Location Ref AFX B3

LAURA and NATHAN are clearing away after finishing theirmeal. Scene starts with both of them bringing in plates etcfrom another room then CHELSEA starts to wash up. Both aremoving about the kitchen throughout the scene. LAURA isclearly on edge. NATHAN is doing what he can to console herbut tends to say the wrong things with each blaming theother and the conversation develops into a full blown row.

NATHANI just knew that something waswrong.

LAURAOh, yes, smart arse.

I suppose you knew everything.

NATHANOf course not.But James just hasn't been doing thesame things at the same times thatEmma did, has he? That's beenobvious all along.

LAURANo, it wasn't bloody obvious. Don'ttalk wet.

Like I said before, it could justhave been that Emma was a bright

Screenplay 32

kid.

NATHANWell it wasn't was it?

LAURANo, and it's no thanks to you thatwe found out about FASD either.

If I hadn't talked to Chelsea at thenursery I wouldn't have realisedthat Liam and James were bothsuffering the same symptoms.

And we wouldn't have thought abouttaking JamesS to the paediatricianwould we?

Would we?

Well?

NATHANThat's right, blame me.

I was the one that said somethingwas wrong. Or have you forgotten?

Remember?

And I was right, wasn't I?

It wasn't me that drank duringpregnancy was it?

No, it bloody wasn't.

But who was it that realised Jameshad a problem then?

Me.

I did. Bloody me.

And wasn't that well before youbrought in Doctor Oh So BloodyClever?

LAURADon't.

Don't go there.

I knew that I shouldn't drink and Isaid so.

Camera takes NATHAN's position so that LAURA is now lookingdirectly at the camera.

LAURAYou told me it would be OK.You told me it would do no harm.

Screenplay 33

NATHANSo who would have thought that theodd drink to unwind would end uplike this?

Don't blame me.If you knew better you shouldn'thave had any.

I didn't force you.

LAURA is at breaking point. Everything she is saying isshouted. She is on 'top note' and out of control.

LAURADon't you dare.

You caused all this.

You've ruined James' life.

He will never hold down a decentjob, never do the things others do.

And it's your fault.

You pushed me. You gave me wine.You. You. You.

She picks up a jar or bottle and throws it at NATHAN (at thecamera) as she pushes her face forward and shouts the nextlines

LAURAGet out!

Go! Go!

Get OUT!

Sauce or whatever was in the bottle runs down as if thecamera is NATHAN and he is seeing LAURA through what she hasthrown at him. This illusion to be keyed with green screenchroma

FTB

18.INT.DAY.RESTAURANT

Location Ref AFX K1

Long shot inside restaurant with counter on left and windowslooking on to a terrace on the right. At the far end is theentrance. Door opens and wearing a warm coat, CHELSEA entersrestaurant, looks around as if looking for somebody, gives aslight nod towards the terrace then goes to counter and getsa coffee. Taking her coffee with her she walks over to theterrace door, opens it and goes outside.

Camera follows her from inside as she walks along theterrace to where DELLA, also in a warm coat is sitting at atable. As they greet each other their dialogue is clearly

Screenplay 34

heard.

CHELSEAAre you Della?

DELLAYes, you Chelsea?

CHELSEAYes.

CHELSEA rubs her arms in a clear display that she is cold.

CHELSEAShall we go inside? It's freezingout here.

DELLAI think it's better here.

It's more private. We'll be alright.The coffee will warm us up.

Very long slow dissolve to outside camera as CHELSEA takes aseat at the table and opens the conversation.

19.EXT.DAY TERRACE

Location Ref AFX K2

CHELSEASo what's this all about then? Inearly didn't come. I don't know youfrom Adam. I nearly put the phonedown. Until you said it was aboutLiam I thought you were a hoax call.

DELLAYou had him from birth right?

CHELSEALiam? Yes. How did you know?

DELLASo why did you give him up?

CHELSEAWe didn't. He was taken off us.

DELLABut when you first got him, theytold you about his mother didn'tthey?

CHELSEAYou mean being an alki?

No, not a word. They said he wasbeing fostered because she couldn'tafford to keep him. that he was justordinary.

Screenplay 35

DELLAI know, that's what they told ustoo. They lied to us both.

CHELSEAHey, slow down a bit.

Who are you? How do you know allthis?

DELLAWhen they took him off you they gavehim to us to foster. They told usthat you couldn't keep him forpersonal reasons but that he was anormal little three year old thatneeded a loving home.

We had him almost a year, then wegot really concerned and I waschatting to an old friend who's anurse at the hospital here and shetold me about an alcoholic womanthat had a baby about three or fouryears ago that was taken off her.

Apparently it was the talk of thematernaty unit at the time. She toldme all about FASD.

Well, it doesn't take a detective tofill in the blanks does it?

CHELSEASo why are you telling me all this?

It hurts you know, talking to thewoman that's taken my place.

I miss his so much.

DELLAI haven't. We've not taken yourplace. You had him for nearly fouryears and gave him a wonderfulstart. But they lied to both of usand now they've done it again.

When we found out what his conditionwas we realised that we couldn'tgive him the care that you weregiving him and we went back to theauthority. They took him off us tooand they've now put him up foradoption. But like they did withboth of us, they are not disclosinghis history - or his mother'sproblems - so the poor little chapis again going to lose out.

I just thought that you would liketo know.

Screenplay 36

FTB

20.EXT.DAY.GARDEN HOUSE C

Location Ref AFX C2

Joel is closing the half door on a shed. Taking a step awayfrom the shed he turns back and looks inside, giving athumbs up followed by putting his finger to his lipssignalling to be quiet..

Dissolve to:

21.INT.DAY.HALL OF HOUSE C

Location Ref AFX C3

CHELSEA is vacuuming. The door bell sounds. She switches thevacuum off, smoothes her skirt, and walks to the door.Opening it to let her parents in. They give her hugs and thethree walk down the hall.

CHELSEAGive me your coats. I'll hang themup.

PHILIPNo, I'll do it.

He takes both coats and goes into a room off as the twowomen exit into the living/dining/kitchen room.

BARBARAYou all right love?

CHELSEAYes, of course. Why?

BARBARAWell, you look quite bright andperky. Happy almost.

CHELSEASince when was being happy a sin?

BARBARAIt's not. I'm so glad to see youlooking more your old self again.You've not looked like this formonths - since, you know . . .

22.INT.DAY.LIVING/DINING/KITCHEN ROOM C

Location Ref AFX C1

PHILIP rejoins CHELSEA & BARBARA and they move over to thewindow where JOEL can be seen in the garden.

CHELSEAYou mean since Liam was taken away?You can say his name you know Mum.

Screenplay 37

BARBARAWell, yes.You haven't have you?What's suddenly caused this?

PHILIPWhat's Joel waving his arms aboutfor out there? He looks like awindmill.

CHELSEAHe's got a new toy in the shed Dad.

I think he wants you to go and havea look at it.

PHILIPWhat's he bought now?

Not another lawn mower I hope. Thelast one was an absolute waste ofmoney. It's the wrong time of theyear for mowing lawns anyway.

OK lad, hold your horses, I'mcoming.

PHILIP walks over to the dining area door, opens it andstarts walking across the garden towards the shed. CHELSEAand BARBARA move closer to the window, CHELSEA with a smileon her face, BARBARA quite indifferent (seen from outside,shot through the window).

23.EXT.DAY.GARDEN HOUSE C

Location Ref AFX C2

PHILIP walks down the garden to JOEL who is standing infront of the shed.

PHILIPOK Joel, what's the big secret?What are you hiding in there?

The shed door bursts open and to the astonishment of PHILIPand BARBARA, out runs LIAM 6yrs, grabbing PHILIP andtwirling him as he passes, then running up towards thehouse. Through the window, BARBARA can be seen covering hermouth with her hands.

BARBARA and CHELSEA rush outside to join JOEL and LIAM.BARBARA crouches down to LIAM's level and gives him a hug.

BARBARANo wonder your Mummy is smiling andhappy. Is it really you my littlepetal? Is it? Tell me I am notdreaming.

What happened?

How can this be?

Screenplay 38

CHELSEAIt's a long story Mum.

But we've got our son back.

JOELAnd he's here for good.

We're no fostering him any more, weare adopting him.

CHELSEAYes.

And we've got him in at a specialschool so he will get the best care.He starts there tomorrow.

All four make their way back to the house, LIAM dashing fromone to the other and all adult fussing over him.

24.INT.DAY.LIVING ROOM OF HOUSE C

Location Ref AFX C1

PHILIP, CHELSEA and JOEL all return to the room. All aresmiling. CHELSEA gives her mother a tissue to dry her eyes.

BARBARA leads LIAM by the hand, taking him across the roomwhere she collapses into a sofa in tears of joy, stillclinging to LIAM.

25.EXT.DAY.PIER

Location Ref AFX D

Link using visual location of introduction sequence.

PRESENTERDiagnosis of FASD can bedevastating. Prognosis for thesufferer is not good, with lifelongimplications that are not simplychildhood ailments to be grown outof.

But the impact isn't just on thesufferer. Parents, siblings, wholefamilies are affected.

26.EXT.DAY.STREET OUTSIDE SENIOR SCHOOL

Location Ref AFX L

Car draws up, stops, out gets EMMA 12yrs. She says goodbyeto her mother (driver) and runs in through the school gateswhere she meets up with her friends. They are in a group,laughing and giggling. Out come mobile phones and photos ofboys compared. There is talk of pop musing and going to aconcert but EMMA says she can't go because her mum won't lether out at night after JAMES bedtime. When a girl asks whynot - it's not James going to the concert - so why does it

Screenplay 39

make a difference, adding that her father will take her andpick her up again so why can't EMMA's? EMMA explains (sadly)that her mum threw her dad out so there's only her mum athome in the evening.

Back in the car, JAMES 9yrs is strapped in to a child seatin the back of the car. The car is driven away and draws upat another school.

27.EXT.DAY.STREET OUTSIDE SPECIAL SCHOOL

Location Ref AFX M1 & M2

LAURA gets out of the car, opens the rear door and helpsJAMES 9yrs to get out. She sends him off into school but hehangs back and will not go in.

LAURA locks the car, sighs, then joins JAMES. Taking hishand she leads him into the school grounds. He is reluctantall the way. Outside the school building there is a group ofother children chatting. JAMES ignores them and stands aloneuntil LIAM arrives with CHELSEA his mother. LIAM and JAMESthen go off together.

28.EXT.DAY.STREET OUTSIDE SPECIAL SCHOOL

Location Ref AFX M2

LAURA and CHELSEA walk back to the school gates together,chatting about their sons as they go.

CHELSEAIt's good to see them together. Theyare good for each other.

LAURAThey are.

But I am worried for their futures.

I never realised that just a fewdrinks could have such an impact. Ihardly drank anything at all, butlook at the result. Just look atwhat I've done to my little boy.

CHELSEAIt's not your fault Laura. Youdidn't know.

LAURAOh it is.

Right from puberty I was always toldnot to drink during pregnancy.

CHELSEAYes, but were you told why or whatthe outcome could be?

LAURAJust that it could harm my baby.

Screenplay 40

Not . not . not this.

CHELSEAExactly.

They put great big warnings onpackets of cigarettes, and everyoneknows about Thalidomide, but whereare the warnings about alcohol? Youknow, what it can lead to?

LAURAThere aren't any.

You've got me on my soap box nowChelsea.

If you hadn't talked to me at thenursery I wouldn't have realised. Ijust thought that he was a bit slowdeveloping. I didn't for one minuterealise that those few drinks when Iwas expecting could cause braindamage.

CHELSEAI know. It came as a shock to ustoo. Liam and James have the nurseryto thank for being on the ball andrealising.

LAURAIt's amazing that neither of ourGP's diagnosed FASD.

CHELSEAAnd I'm still livid that we werelied to. They covered up Liam'smum's alcoholism you know.

It's really affected him. He can notcope with change and he needseverything to be repetitive day onday. It can get quite tryingsometimes.

LAURAJames is exactly the same. It's justlike the specialist said it wouldbe. He's formed an attachment and nomatter what I do he will not go into school until Liam arrives. I haveto serve our meals up at the sametimes each day and he just doesn'tcommunicate.

It's hard work.

CHELSEASame for us.

Liam can be very naughty and it's

Screenplay 41

difficult to know when he's justbeing a naughty little boy and whenit's the condition.

They say he's got a normal IQ, butthen his brain cannot cope with someother everyday tasks and he justgoes into meltdown.

But we love him to bits. Joel iswonderful with him and since we gothim back he's been the apple of myMum and Dad's eye.

Where's your Nathan these days?He used to bring James to school butI've not seen him for ages. Has hegot a new job or something?

LAURANo.I am on my own. Well, me and thekids of course.

The whole situation got too much andwe were rowing all the time.

I actually threw him out severaltimes but he came back and we triedagain - you know, for James' andEmma's sake.

But we blamed each other and seeingJames every day, the hate buit upand just wouldn't go away. Soeventually he left for good.

CHELSEAI know where you are coming from.

We get angry too, but I'm not hisbirth mother so we aim ours at thosewho caused his problems in the firstplace.

It was all so uneccessary. If we hadknown about Liam's mum in the firstplace we would still have adoptedhim. It wouldn't have changed that.But we would have known what couldhappen and looked for the signs.

The GP's ignorance didn't helpeither.

But I'm sorry about you and Nathan.It must have been tough.

LAURAIt is.But that's life.James is still my son and I'll do

Screenplay 42

what I can as long as he needs me.

CHELSEAIt's a lifelong thing Laura.

LAURAI know.

Don't worry about me Chelsea. I'mOK. It's just that bit harder copingon my own. Thank heavens I've gotthe FASD support group to help me.

CHELSEAThey've been great to us too. I feelsorry for Liam's mum - she lost bothof her children and no mother wantsthat.

Are you going to the meeting thisafternoon?

LAURAYes, I'll see you there.

The two women get into their respective cars and drive offin different directions.

29.EXT.DAY.PIER

Location Ref AFX D

PRESENTER sums up. Gives a review of FASD and how the Trustcame to be formed, what it can do and the support it needs.

PRESENTERFASD is simply the result of alcoholconsumption during pregnancy andalthough it is a completelyavoidable condition, it is notreally understood by expectantmothers.

The sad thing is that we've knownabout it for so long that it waseven referred to in the bible.

Alcohol is a teratogen – a substancethat causes malformations in afoetus and interferes with itsdevelopment in exactly the same waythat Thalidomide did in the sixties.

Even now, the primary FASD conditionof organic brain damage caused bypre-natal exposure to alcohol isoften missed, so it then developsinto secondary disabilities.

What you have just seen is very trueto life.

Screenplay 43

An estimated one in one hundredbabies are affected by FASD.

There are cover-ups. Symptoms aremisdiagnosed. Primary conditions dodevelop into serious problems thatwreck lives.

So the message here is clear.

If you are pregnant then do notdrink alcohol at all.

Opportunity for a closing talking head with the Trustfounder.

Leads in to text screen with FASD Trust details etc.

When distibuted on disk (BD / DVD), this film to besupported by extra content as a series of stand alone cameotalking head shorts with adoptive and natural parents,paediatricians, Trust members etc describing actual casehistories in graphic detail (but without naming authorities,NHS Trusts or others so as to avoid legal response).

Screenplay 44