Happy Valley Page #3

Season #1 Episode #5

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wrong. You’ve got the wrong end of

the stick.

PHIL:

You don’t have to say anything, but

it may harm your defence if you do

not mention when questioned

something you later rely on in

court. Anything you do say may be

used in evidence. Do you understand

what I’m saying to you Kevin?

KEVIN:

Yes but

PHIL:

Is this your mobile phone?

He slips the phone into an evidence bag. KEVIN can’t believe

the speed at which it’s all happening. PHIL takes out

handcuffs.

CUT TO:

14 OMITTED 14

15 INT. HOSPITAL, FAMILY ROOM. DAY 11. 09.31 15

DANIEL’s shown into the little family room where CLARE sits

alone. Like him, she’s ashen with worry, and fidgety.

DANIEL:

What do we know?

CLARE:

No more than I told you on the

phone. She’s still in theatre. I

don’t know where she is. They

showed me in here. They said it

could be hours.

DANIEL:

Why?

HAPPY VALLEY. EPISODE FIVE. BY SALLY WAINWRIGHT. 13.

CLARE:

They’re having to remove her

spleen.

DANIEL:

Why?

CLARE:

She’s - somebody beat her up.

DANIEL:

Who?

CLARE:

I don’t know.

DANIEL:

What does that mean? Your spleen.

What does that do?

CLARE:

I don’t - I’ve no - you know as

much as me.

DANIEL:

What was she doing?

CLARE:

Just what I’ve said. That’s [all I

know]

DANIEL:

Is there someone to talk to?

CLARE:

They keep popping in.

DANIEL:

Are you all right?

CLARE:

Yeah!

(welling up)

I’m just. I don’t know what to do

with meself.

CUT TO:

16 EXT. MOORS. DAY A. 09.50 16

An atmosphere unnaturally beautiful and unnaturally light and

clear and clean. Basically we’re in CATHERINE’s

subconscious/heaven. 7 year-old BECKY (looking happy and full

of beans) is trying to lure us (well, CATHERINE) across the

moors. She’s so happy, she has a compelling lively smile and

in a distant sweet, happy voice that we can barely hear,

she’s going

HAPPY VALLEY. EPISODE FIVE. BY SALLY WAINWRIGHT. 14.

BECKY:

Come on! You’ll love it. It’s

beautiful, it’s perfect! Just let

go Mummy!

Everything feels bright and happy, it feels like a wedding.

And then suddenly BECKY’s very real, and her voice is clear,

and she’s still just as happy (as though CATHERINE really has

gone over to the other side, and needs no more persuasion)

BECKY (CONT’D)

Mummy?

CUT TO:

17 INT. HOSPITAL, OPERATING THEATRE. DAY 11. 09.51 17

The ANAESTHETIST and the O.D.A. (the ANAESTHETIST'S

assistant) look on as the SURGEON and his ASSISTANT have

their hands inside CATHERINE’s abdomen as they operate.

There’s also a SCRUB NURSE present.

ANAESTHETIST:

She’s become very tachycardic,

what’re you doing down there?

(no response from the

SURGEON who is busily

working on CATHERINE’s

abdomen)

She is becoming very unstable.

An alarm from the anaesthetic machine sounds.

SURGEON:

Packs. Quickly.

(to the ANAESTHETIST)

Her abdomen’s full of blood, she’s

bleeding out, the spleen’s gone.

The SCRUB NURSE hands the packs to the SURGEON and he pushes

them into the abdomen.

SURGEON (CONT’D)

(to his ASSISTANT)

Get the suction. I need straight

arterial clamps, a three O nylon

stitch and keep them coming. I need

more packs.

As the SURGEON pulls out some of the packs, blood can be seen

dribbling down either side of CATHERINE’s abdomen.

CUT TO:

HAPPY VALLEY. EPISODE FIVE. BY SALLY WAINWRIGHT. 15.

18

INT/EXT. UPPER LIGHTHAZELS FARM, KITCHEN/FRONTDOOR. 18

DAY 11. 10.00

ASHLEY’s smoking. His hands are shaking. He’s trying/

pretending to read his Daily Express. JULIE’s clattering

about with the juicer (and juggling a fag). She’s just

stepped out of the shower, and is wrapped in a bathrobe and a

turban (it’s probably about 10am by now). Her clattering

irritates ASHLEY.

ASHLEY:

Are you not in t’salon today?

JULIE:

Yeah. I’m down there now. This is a

hologram.

(she can tell he’s not

himself)

What’s up?

ASHLEY:

I might. I might pop out. For a

bit.

She wants to ask “What’s matter?” again, but then something

catches her eye out of the window. A black Vauxhall Insignia,

a patrol car and a police van coming (sedately, there’s potholes)

up the lane towards the farm house. JULIE keeps quiet.

Her heart’s suddenly racing and sinking.

JULIE:

(a murmur; she’s sickened)

You’ve been at it again. After

everything that’s been said.

ASHLEY looks up at her and realises she’s seen something

outside.

Cut to moments later. A sharp tap-tap-tap at the door. ASHLEY

pulls the door open, ready to be the congenial innocent.

There’s an impressive young woman standing in front of him

(behind her we see that the van has POLICE DOGS written on

it).

WOMAN:

Ashley Cowgill? I’m Detective

Constable Christine Whittaker. Can

I come in?

ASHLEY:

(he hears his own voice in

the distance)

What’s it to do with?

She insinuates herself past him.

CHRISTINE:

Y’all right if I come in?

HAPPY VALLEY. EPISODE FIVE. BY SALLY WAINWRIGHT. 16.

Several members of her syndicate follow her in. The UNIFORMS

hang fire outside.

CUT TO:

19 INT. UPPER LIGHTHAZELS FARM, KITCHEN. DAY 11. 10.01 19

CHRISTINE insinuates her way through to the kitchen, where

JULIE’s gone pale.

CHRISTINE:

Is this your wife?

ASHLEY:

Yeah, yeah, she’s

JULIE:

What’s matter, what’s going on?

CHRISTINE:

Okay Ashley.

(she’s measured, no-

nonsense)

I’m arresting you on suspicion of

abduction and demanding money with

menaces.

JULIE:

WHAT?

CHRISTINE:

You don’t have to say anything, but

it may harm your defence if you do

not mention when questioned

something you later rely on in

court.

JULIE:

That’s - you can’t - that’s -

CHRISTINE:

Anything you do say may be given in

evidence.

(kind, no-nonsense)

Are you with me Ashley, have you

taken that in?

ASHLEY’s kind of gone to pieces. He can’t speak. Another D.C.

smoothly cuffs ASHLEY.

ASHLEY:

(weakly, to JULIE)

I haven’t, I didn’t, this isn’t me.

Of all the stupid things he could’ve been up to, JULIE really

doesn’t believe this one about ASHLEY.

HAPPY VALLEY. EPISODE FIVE. BY SALLY WAINWRIGHT. 17.

JULIE:

Why would he do something like

that? We’ve got caravans! We’ve got

a games room that caters for people

in wheelchairs!

CUT TO:

20 OMITTED 20

21 INT. RYAN’S SCHOOL, MRS.BERESFORD’S OFFICE, DAY 11. 15.01 21

RYAN comes into MRS.BERESFORD’s office. Unusually,

MRS.BERESFORD is looking compassionate (as opposed to

worried).

MRS.BERESFORD

Ryan.

(RYAN sees RICHARD)

Your grandad’s here.

RICHARD’s smiling.

RICHARD:

Hiya Ryan.

MRS.BERESFORD

And your step-gran, Ros.

ROS is smiling too. Both so kind.

ROS:

Hello!

MRS.BERESFORD

You’re going to go home with them

today because your granny’s had to

go into hospital, and Auntie

Clare’s with her, so...

RYAN:

Okay.

RYAN accepts it. Without question. He’s still young enough to

do that. Somehow. Because MRS.BERESFORD and RICHARD and ROS

are kind.

RICHARD:

D’you wanna have another go at

football in t’back garden? See if

you can teach me a few new moves?

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