Transcript: EastEnders 3 Nov 1994 The Television Transcript Project */EastEnders /* *Written by:* Colin Brake 3 Nov 1994 British air date: Thursday, 3 Nov 1994. (Aired in Denver, CO, USA on: 27 Aug 1996.) This is episode #90 in the second numbering series (after the first 952 episodes). *Synopsis:* Phil's in hospital after Grant nearly killed him (due to the affair with Sharon), so Sharon foolishly visits Phil. The Vic staff anxiously speculate on the future. Art and Sanjay discuss the racists running for office. Alan and Robbie have a word with the dog lover. Cindy and Ian interview people for the chippie. Kath runs into Sharon at the hospital and gives her a dressing-down! Directed by Gwennan Sage. Text in braces {} is unclear. I tried my best, but, especially with Bianca, it can be hard to work out what people are saying sometimes. The Cockney English verb (and noun), "kip," means sleep. And a "gaff" is a place (e.g. a store, a flat, a house). "Taking the mick" is tormenting/teasing. A "punter" is a customer. A "chippie" is a fish and chips place. CHELLE = MICHELLE = CHELLE KATH = KATHY = KATH approx. 42 scenes. 22 characters: ROBBIE, MICHELLE, SHARON, NIGEL, GRANT, BIANCA, RICKY, PAT, DAVID, CAROL, ALAN, ART, PAULINE, CINDY, IAN , KATH, DEBS, STEVE, SANJAY, GEOFF, BINNIE, and PHIL. And Wellhard. Cast list (cast.htm 3K) When I printed this transcript, it took 37 pages. Transcribed via microcassette and copious notes. ------------------------------------------------------------------------ [*/EastEnders/ Intro* with theme music (time: 00:27). Intro theme: Save music (417kb mp3).] ------------------------------------------------------------------------ [Early Morning, the morning after the previous episode. ROBBIE walks through streets, back alleys, to the Arches (Phil's garage). Happy. He has a small plain white oval-ish package.] ------------------------------------------------------------------------ [SHARON and MICHELLE up in the Vic kitchen. SHARON's in her pink robe, the worst for wear--she and the pink robe, that is.] MICHELLE Why didn't you tell me? SHARON I was too upset. Thought you'd be angry with me. MICHELLE Of course I wouldn't have. SHARON Didn't get much sleep last night.. Kept thinking about what /Ian/ said. The damage I've done. MICHELLE I thought you wanted /me/ to have a word with Kath first. SHARON No, I couldn't wait. MICHELLE Bet you wish now you had. SHARON Wish he'd only let me /talk/ to her. MICHELLE Well, you can't blame him. SHARON [pause] No. I suppose not. You're right: it's far too early to try 'n' speak to her. I gotta concentrate on gettin' back to normal. MICHELLE Yeah, good. It's--ju--gonna take a bit of /time/ you know. SHARON Yeah. ------------------------------------------------------------------------ [At NIGEL's, in the kitchen. GRANT's sitting depressed at the table when NIGEL walks in. (GRANT's staying there after the blow-up the other night with him playing Sharon's tell-all tape and him beating the tar out of Phil over it. Debs and Clare are staying at Deb's mother's.) NIGEL's afraid to bring up GRANT's nightmares from the night before.] NIGEL Morning. Thought you' gonna sleep all /day./ GRANT [pause, looks up and then returns to staring into space, which he continues pretty much throughout] Only got to sleep a couple o' hours ago. NIGEL Yeah. Sorry.. Do you often get those nightmares. GRANT [pause] Sometimes.. NIGEL Look um.. Don't worry about last night; I understand. GRANT [pause] Do you. NIGEL [pause] Well, I mean, it's not--not--surprising, is it--you had a shock. I mean, you didn't know what you were sayin', did ya.. You didn't mean what you said. [deals quietly with his anxieties about Grant] GRANT [pause] Shouldn't you be gettin' ta work, Nige. NIGEL Yeah, but.. Well, I mean, if you're all ri-- GRANT I'll be fine. NIGEL Right. [leaves] ------------------------------------------------------------------------ [The Arches. BIANCA's surprised at RICKY's helping Robbie with his dog (letting Wellhard stay overnight at the Arches).] BIANCA {Why you le'im come here /now./} RICKY I ain't gonna be here all day, am I? I wanna pop off to the hospital in a bit. BIANCA Trust my brother to pick the ugliest dog in Britain for a pet. Mind you it's two of a /kind,/ i't'n' it? Why d'you {stop to playin' to 'im?} RICKY Means a lot to him, don't it? BIANCA Why. [seeing ROBBIE arrive, to ROBBIE] Yeah, we're all right. [ROBBIE comes in delighted and at ease to see his dog. RICKY and BIANCA are happy watching.] ROBBIE Hello, boy! How're ya /do/in'? Hope you enjoy your breakfast. BIANCA Mom'll go mad, if she knows you been wastin' good food on 'im. ROBBIE Yeah, he /deserves/ it, all right? Don't you, Wellhard? [pause while he feeds and pets him] After all you've been /through../ ------------------------------------------------------------------------ [PAT and DAVID are walking together through the square to the car lot.] PAT I'm just worried about him--that's all. DAVID Mum, he's nothing to /do/ with us anymore. PAT /Go on!/ He's Frank's /son!/ He should be living at home with us. DAVID I don't know if he /wants/ to go home with us. PAT Well, maybe if you two buried the hatchet, he might come home. DAVID I'm not sure I want him. PAT Oh, don't be so stubborn, David--you know you need him. Well it's hardly as if that part-time mechanic you've got is any good. DAVID Oh, Nick's all right.. PAT Ha! You could've fooled me.. DAVID All right, Mum, all right--I'll have a /word/ with him, offer the olive branch, is that okay? PAT Thank you Dav-- DAVID And don't hold your breath. I don't think he's gonna take it. PAT You don' know 'til you /try, do/ ya? Right. I better get in the Vic. See ya later. DAVID Yeah, see ya. ------------------------------------------------------------------------ [The market. ALAN running Mark's stall. CAROL's talking to him.] CAROL Did you and Robbie enjoy your fry-out, then? ALAN What? CAROL Oh, don't think I didn't notice the bacon and the sausages are gone from the 'fridge. ALAN I was late this morning. I skipped breakfast. And I ain't /seen/ Robbie.. CAROL Well, I thought he'd gone up early to go out 'cause he was gonna help you set /up./ ALAN I see. CAROL Ww--you don't think he's run away again, do ya? ALAN Nah, of course not. He's probably gone off somewhere. It might a been about that dog. CAROL Oh. ------------------------------------------------------------------------ [The Fowlers' living room. ART's reading The Gazette at the table. PAULINE's not crabby, it just reads that way--she's just everyday wry.] ART Hey, have you seen /this?/ PAULINE What? ART Old Newman died. PAULINE Who? ART Newman. Councilor Newman. PAULINE Mmm. Who's he when he's at home. [sits down with him about now] ART Well, he's our local councilman for this ward. PAULINE Never heard of 'im. ART Well, you should a done--he's always in The Gazette for /do/ing things. PAULINE Like what? ART Well, now, opening places, visiting schools, that sort of thing. You know, you should take an interest in local politics. It is important. PAULINE So when did he die? ART A couple of months ago. They just announced the date for the /elec/tion. PAULINE Oh. So why didn't you know about it when it happened if you're so up in it all? ART I don't know--I must have missed it. PAULINE Well, if you're /so/ interested, why don't you go for it your/self../ ART Ha.. Do you think so? Councilor Fowler. Ha.. Sounds good, doesn't it. PAULINE Hm. ------------------------------------------------------------------------ [IAN and CINDY at home--living room. CINDY gets off phone.] CINDY Right, then, that's the kids sorted? IAN Yeah. You're sure Pat doesn't mind havin' them. CINDY Well, let's just say she'll be as pleased as /I'll/ be when we get some staff. IAN Yeah, well, she won't have long a wait, will she. CINDY All fixed, then. IAN Yeah, we'll be interviewing all day. CINDY Uhhh--/you/ are? IAN Yeah..? CINDY Uh, well, what about me? IAN Ah, uh, yeah, you'll have to hold the fort, love. CINDY Oh, terrific.. IAN Look, Cindy, you want us to get some staff, don't ya. CINDY Yeah. IAN Yeah, well I've gotta carry out interviews, haven't I? CINDY Yeah, well I wanna see 'em, /too./ Don't want you employing some flirty teenage girl, do I? IAN Yeah, 'n' I don't want you employing some muscle-bound male model, otherwise you'll be working there full time. CINDY So you've seen him? IAN No, the agency's sending over a selection. CINDY People with ex/per/ience? IAN Hope so. ------------------------------------------------------------------------ [At the cafe, DEBS comes in. KATH's at the counter.] KATH Hi-ya. DEBS Hi, ah, how're ya doing today. KATH Fine: what can I get ya? DEBS [to show she's tired, she slumps on the counter] Coffee, please, maybe it'll perk me up a bit before work. KATH Tired? DEBS Yeah, a bit. Never sleep as well when you're not in your /own/ bed, do ya? KATH Where're you kippin' then? DEBS Me Mum's. KATH Oh. DEBS Yeah. Me an' Clare went there last night. KATH Poor ol' Nigel--he must've had a terrible time without you. DEBS Oh, I don't know about that--only for a few days. [PAULINE comes in.] PAULINE Hi Kath. KATH Hi-ya. PAULINE Got a minute? KATH Yeah. Sixty every hour. What can I get ya? PAULINE You seem a lot better. KATH Yeah. PAULINE Um. Nellie said you went to see Phil. KATH No such thing as a secret around /here,/ is there? PAULINE You sure that was a good idea? KATH Yeah; I feel a lot better now I've seen him. PAULINE Right--well, anyway, if there's anything I can do for ya, give us a shout, ya? [she's leaving] KATH Well, uh, you could actually look after the cafe for us for a couple hours later on. PAULINE Yeah, /sure!/ KATH I promised I'd go back an' see Phil again. PAULINE Right. [KATH turns away from PAULINE as PAULINE leaves--KATH has a Cheshire grin on.] ------------------------------------------------------------------------ [PAULINE goes outside and CAROL comes up to her near the Launderette.] CAROL Oh Pauline, I'm glad I've bumped into you-- PAULINE Oh, look, Carol, I can't cover your shift for ya. I've promised Kathy I'd do her a favour for this afternoon-- CAROL No, no, that wasn't it. I just wanted to chat, really. PAULINE Which one of 'em is it this time--Bianca? CAROL No, it's Robbie. PAULINE [quiet] What's he done now? CAROL Oh, /I/ don't know. Nothing really. But, well, he's asked about his real dad yesterday an' he's never mentioned him before. PAULINE Oh. Perhaps it's a sign he's growing /up./ Wants to know who he /is./ Why doesn't Alan have a word with him? CAROL Oh, I don't know, Pauline. I just wish I'd've explained things to them when they were little. I mean, it's all a bit complicated now they're older. PAULINE Doesn't get any simpler, /I/ can tell ya. CAROL I know, it's just I feel so /guilty/ sometimes. PAULINE Yeah, well, once they've got a mind of their own, there's not much you can /do/ about it--now what's Robbie gone an' done /now/--got involved with some /girl?/ CAROL Ha! A girl? No, that would be a relief. No, he's all upset about this stupid dog. PAULINE Is that all? [like a groan, sort of, and she turns to Launderette's door] CAROL Yeah. Stupid i'n't it? PAULINE Yeah. ------------------------------------------------------------------------ [At the Vic, STEVE and CHELLE are setting up. It's still morning.] STEVE So how long's all this gonna go on, then? CHELLE All what? STEVE /Sharon/--stayin' out of the way. CHELLE Ah. I just think it's better just to keep her head down right now. Or else she might do something silly. STEVE So, uh, what's gonna happen in the long run, you know, like with the pub. CHELLE [pause] You worried about Sharon or your job? STEVE Both. CHELLE At least you're honest. STEVE So what do you reckon? CHELLE What makes you think I /know/ what's gonna go on? STEVE You /know/ Sharon. CHELLE Yeah. Well, she still has a habit of sur/pris/ing me sometimes. [goes on with her work] [SHARON comes down and runs into CHELLE who's just come around to the stairs.] CHELLE Hello. SHARON Hi: I was gettin' bored up there so I thought I could help you set up. CHELLE All right, you? SHARON Yeah. [comes to bar area] STEVE All right? You workin' a shift today? SHARON Oh, not just yet. STEVE Oh, that's too bad, about to open. SHARON [sees ice buckets on the bar] Oh, it's a good job I /am./ No one got the ice buckets ready? CHELLE Oh, right, sorry, sorry. [grabs them and leaves] SHARON Mm, better get a move on, it's opening time.. Oh, I love this time o' day. It's like the Vic is about to /wake up./ STEVE Are you sure you don't wanna work a session?.. SHARON Ah, not just yet. Like Michelle was sayin': gotta give it some time. ------------------------------------------------------------------------ [At the hospital, RICKY visiting PHIL, who's sitting up in bed.] RICKY Do you know, it's such a wreck, I don't know why he's bothering. PHIL Well, it's his /girl/friend's car, i'n't it? He told her it could be fixed. RICKY David had a car out, too. I had to laugh: it was even worse than /usual./ PHIL [is amused, likes the shop talk] Was he able to sell it? RICKY I tell you, he's got this mechanic, Nick, all right, made out to be like right top mechanic-- PHIL And? RICKY He's never /there/--he bunks off half the day! PHIL Sounds like David's missing you for Deals on Wheels. RICKY Well, I got a better offer, didn't I? ------------------------------------------------------------------------ [At the market, ALAN sees Robbie with the dog--far away.] ALAN Sanj, watch the stall for me? Sanjay! SANJAY [finished with punter] Sorry, Alan, what'd you want? ALAN Ah, never mind. ------------------------------------------------------------------------ [At Ian's and Cindy's, living room. IAN with a male interviewee who mostly stares in response to Ian's questions.] IAN All right. So, uh, have you ever worked in the service industry before? .. Serving the public. GUY No. IAN Right.. Do you know anything about fish? GUY No. ------------------------------------------------------------------------ [At the Vic. ART and SANJAY are sitting at the bar, STEVE's behind the bar.] ART How's Sharon? STEVE So-so. ART Any sign of Grant? STEVE Not for a while. ART Well, must be like working in No-Man's land? STEVE Nah; it's all right. SANJAY What's the latest on Phil? STEVE I don't know; no one tells us anything. SANJAY I reckon he's lucky to be /alive./ I mean, I wouldn't fancy my chances against Grant. ART Yeah, but Grant's not a /killer,/ though, /is/ he? SANJAY Oh, you /rec/kon, do you? Well, /some/one told /me,/ that he was nearly out for /murder/ once. The last /landlord/ here, or something? ART Oh!.. That was that poor old Eddie Royal, yeah. Yeah, now--that was Nick /Cotton/ that killed him. It wasn't Grant. STEVE The jury didn't think so. SANJAY Yeah, well, that doesn't mean he wasn't guilty, does it? ART /Or/ that Grant /was!/ STEVE [to MICHELLE] Looks like we did the right thing opening up. Sharon'll be pleased. MICHELLE I've seen her happier.. SANJAY Yeah. /I/ feel sorry for /Ni/gel. ART /Ni/gel? SANJAY Yeah, I mean, he's got /Grant stayin'/ with him, /doesn't/ he. ART Does he? SANJAY Yeah. I wouldn't wanna be in /his/ shoes.. [GEOFF walks in and goes to MICHELLE, who's behind the bar. He has a decent haircut, he looks good.] GEOFF Hello stranger! Remember me? MICHELLE Uh, no. Can't say I do; would you remind me? [they kiss] GEOFF Two days an' you've forgotten what I look like. MICHELLE Let me see, I thought you were gonna be at college? GEOFF It's /lunch/time. I wanted to /see/ ya. Well you look pretty busy.. Are you sure you're not taking on too much? MICHELLE I, promised I'd help Sharon out. But can I get you a drink while you're waiting, it's a bit-- GEOFF Uh, no, no, I got a seminar at two. Maybe I'll pop out later-- MICHELLE Oh, well, try about half past three, it should be fine then. GEOFF Good of you to fit me in! See ya later. [cheerily leaves] ------------------------------------------------------------------------ [The Video Shop, DEBS comes in.] DEBS Hi. NIGEL Hi! [they kiss] DEBS Brought you a sandwich. Cheese an' pickle all right. NIGEL Oh, lovely. DEBS You okay? NIGEL Yeah. DEBS Coping? NIGEL Miss you. DEBS [they hug] Oh, yeaaah, miss you too. Ooo. NIGEL Ah, well, this is really romantic, i't'n it? Secret lunchtime meetings over cheese and pickle sandwiches. [they chuckle] DEBS [inaudible] NIGEL Is Clare all right? DEBS Yeah, fine. Not much happier. NIGEL Oh, that's the most important thing--uh. DEBS And Grant? NIGEL Great. Just great.. [sounds doubtful and DEBS senses it] ------------------------------------------------------------------------ [Fowlers' kitchen, PAULINE's doing some tea or something and ART comes in.] PAULINE Oh! Morning Councilor. D'you have a good /day?/ ART [chuckles] Yeah. Thirsty work managing a reference collection on /this/ {barrio}. So I went and had a quick drink before lunch. PAULINE Oh, yeah? Our Michelle there again, was she? ART Yeah. She looks as if she's rushed off her feet. PAULINE Well, it's no more 'n she de/serves./ She got no business bein' there anyway. ART Oh, this wants some mustard on it. [He'd gone and sat at the table and now gets up, goes to the kitchen. She's in the living room by now and he calls from the kitchen.] You know, I reckon some new blood on the council is just what's needed. PAULINE Yeah, you'd look good in a gold chain. ART [chuckles] A lot you know--that's the /Mayor./ PAULINE Well, you may as well /aim high./ If you get Mayor, I could use the official car for me shopping. ART Ha, ha, ha. ------------------------------------------------------------------------ [At the Arches, RICKY's back and BIANCA's visiting.] BIANCA What's with them? RICKY Ah. That is David's latest disaster. BIANCA It go? RICKY No, not at the moment. BIANCA I bet you could make it work. [hands him his lunch] RICKY I'm a mechanic, not a magician. BIANCA Nice you working here again, though. RICKY Yeah. BIANCA I like a man in oily overalls. RICKY Yeah, an' one who's earning. BIANCA An' that an' all. An' by the way, the lunch cost me three quid. RICKY Three quid? [readily digs for it in his pocket, hands her three quid coins] There you are. BIANCA Ah. [kiss and then is leaving] RICKY Oh. You gonna charge me for that'n'all? BIANCA [smiles as she leaves] ------------------------------------------------------------------------ [At Ian's and Cindy's. IAN is interviewing a WOMAN who has a professional look.] IAN Well, it's gonna be odd hours, uh. Do you have a family? WOMAN Yes, but I really don't see that it's any of your business. IAN No, I'm just aware of the pressures of having a young family, that's all. WOMAN Are you saying I can't have this job because I've got /child/ren? IAN No. No, of course I'm not, it's--uh, right, you say you've--uh--worked in similar establishments? WOMAN A fish and chips shop, yes. My husband and I ran one for five years, on Old Orchard Way. Of course, it was a much /larger/ place than yours, an' we did quite a wide menu. IAN [bored] Oh, is that so. WOMAN Oh yes. You need to offer more than just fish /these/ days. Chicken. Pasties. Maybe Chinese vegetable rolls. IAN [tired/bored] Really. WOMAN Oh, abso/lute/ly! Really, Mr. Beale, I've a wealth of experience an' /lots/ of ideas. I'm /sure/ I could really /make/ something of your place. IAN Yeah. I'm afraid the position we're offerin's rather a junior one, though. ------------------------------------------------------------------------ [At the Vic.] BINNIE Oh, it's gone /mad/ in here, i'n't it? MICHELLE Yeah. I just think it's people wantin' the latest gossip, you know? BINNIE Yeah. [PAULINE comes in.] PAULINE Michelle, can I have a word, please. [they go to the back] MICHELLE Something wrong? PAULINE I don't like seein' you behind this bar all day. MICHELLE Sharon /needs/ me now. PAULINE Yeah, an' what about Kathy? MICHELLE To be honest, Mum, I don't think Kathy wants anything from /me/ right now. PAULINE Well, /o/ther people need you, you know. What about Vicky? MICHELLE It's all right: Mark an' Ruth're helping out. PAULINE An' Geoff? He can't be too pleased-- MICHELLE No, well Geoff understands.. PAULINE What about all the plans you have, now you have your degree? MICHELLE Mum, I'm all Sharon's /got/ right now. PAULINE Well, sometimes you have to put yourself /first./ Sharon needs /you/ more than you need /her./ She's holding you /back./ MICHELLE That's not true. PAULINE Anyway, I thought you'd have learned your lesson after the last little turn-out in here. Remember? You ended up in hospital. MICHELLE Yeah, well, that won't happen again. PAULINE How do you know that. You know what that Grant Mitchell's like. How do you know he's not gonna come through that door any minute an' start throwing his weight about. Where would you be then? MICHELLE [not listening to any more of this] You don't want a drink then? PAULINE No. Thanks. I'm going to the cafe; Kathy needs my support. [leaves. They're both a bit irritated with each other.] ------------------------------------------------------------------------ [The market. CAROL comes up to ALAN at the stall.] CAROL Alan. About Robbie-- ALAN Yeah-- CAROL I was just /thinking--/ ALAN [distracted by something in the direction of the Arches] I reckon I know what's goin' on.. [hands her the apron] There. This won't take long. [leaves] CAROL Alan? ------------------------------------------------------------------------ [At Ian's and Cindy's, CINDY comes in.] CINDY No luck, then? IAN No, not so far. CINDY Do you know if the agency's takin' the mick sending us totally unsuitable people? IAN You're tellin' me. I mean, they're either too stupid to walk and talk at the same time, or they're so ambitious they wanna take the gaff /over./ CINDY Yeah an' nothing in between. IAN Oh, it might take a turn up. CINDY [sigh] Hope so. IAN Well, if not, just have ta struggle on, won't we? CINDY [lightly testy/anxious] No we won't Ian, One way or another, we're gonna get some help. ------------------------------------------------------------------------ [At the Arches, ROBBIE's comforting Wellhard and ALAN comes up.] ROBBIE Told ya I'd be back. No one's gonna hurt ya this time; I /swear/ it. ALAN [comes up and coughs to make ROBBIE notice/look] ROBBIE [turns, pause] Came back. ALAN Yeah, I can see. ROBBIE So, what'd ya wanna do now? ALAN Give him back again. ROBBIE We /can't do/ that, Alan! Why'd ya think he runs /away/ in the first place? Because his owner kicks him around--/that's why./ ALAN What'd ya mean? ROBBIE Well, /look!/ [pointing out dog's shoulder/back area] ALAN I never noticed these before.. You reckon his owner did this?.. ROBBIE Yeah--of /course/ he does. When he gets him /home,/ he probably gives him a good hidin' for running away in the /first/ place. ALAN What makes some 'un /do/ something like this.. ROBBIE [disgusted] He's just /scum,/ Alan. /Please, please,/ don't let us give him back to 'im, /please./ ALAN An' you said this bloke 'as at the bettin' shop /yes/terday? ROBBIE [tired] /Yes./ ALAN [resolved] I want a /word/ with this Dog Lover. ------------------------------------------------------------------------ [CHELLE comes into the Vic kitchen where SHARON's in her robe, putting on some makeup.] CHELLE Oh, ya puttin' a /face/ on? SHARON Yeah. Gettin' a bit /tired/ o' lookin' like Death warmed up. CHELLE I know what ya mean. Geoff's comin' back later; maybe /I/ should make a bit of effort. SHARON I see--he been neglected. CHELLE You know what he's like--can be a bit de/mand/ing at times. SHARON Yeah, /I/ bet. CHELLE I got /Mum/ on my back, /too./ They're both as bad as each /other./ Pushin' me to get a /job,/ givin' me ad/vice/ left, right, and center.. SHARON Only doin' it 'cause they /care/ about you. CHELLE Oh, I /know,/ I know, but, ever since I left /college/ me Mum thinks I shoulda grown /out/ of the Square--/all/ this. SHARON Includin' me. CHELLE No, I didn't /say that./ SHARON It's true, though. You know I /really/ appreciate what you been doin'. CHELLE What're friends /for?/ SHARON Yeah, but ya gotta get on with your /own/ life. I don't wanna take ad/van/tage; so I'm got meself together. CHELLE It's good to hear you gettin' positive again.. SHARON Yeah. I mean, once I've had a chance to get things sorted out with Phil, I'm sure-- CHELLE Sharon. The /last/ time you tried to sort things out with Phil is when all the /trouble/ started.. I don't think he'd appreciate it much, /ei/ther.. SHARON Yeah, you're right. [she looks like she's hiding her real opinion] ------------------------------------------------------------------------ [ALAN and ROBBIE, with Wellhard, are standing in a nook that's in view of the betting shop on Turpin Road.] ROBBIE Look, /maybe/ this isn't such a good idea. I mean, we /might/ be here all /day../ ALAN {yuzhu lats a flag} He'll be back. ROBBIE Yeah, wha'about Mark's stall? ALAN I reckon this is more im/port/ant, don't you? ROBBIE Yeah? ALAN Look, I don't care if we gotta wait here 'til /Christ/mas, we ain't lettin' this drop; the guy's a /bully./ An' he ain't gettin' away with it. ------------------------------------------------------------------------ [DAVID's looking for Nick at the Arches. RICKY's down in the pit and comes up.] DAVID Nick? You there? RICKY Oh, blime--it's /you./ [grumpy] If you're looking for that me/chan/ic of yours, he ain't here. DAVID I knew you'd see sense eventually. RICKY You what? DAVID I'm really pleased to see you back, mate. RICKY I /ain't back./ I'm helpin' /Phil/ out. DAVID Oh, right.. I was uh, I was hoping you'd changed your mind, like. RICKY Oh, yeah. Give me one good reason why I should do that. DAVID Listen, Ricky. Mum is really worried about ya. She wants ya to come home and /work/ with us again. RICKY [disgusted] Oh, ya--don't give me all that family loyalty stuff. Only thing /you/ care about is yourself, David. DAVID [sort of sternly] That is /not true./ RICKY Yes, it is! If you weren't stuck with some two bob /mechanic/ who don't know his way around an /engine,/ you wouldn't give a /monkey's/ about what I was doin' /or/ where I was /living!/ DAVID [more resigned than angry] All right, all right. I think you've made your point. Anyway, I'm gettin' on over the road. RICKY Oh. I suppose /Pat/ told ya, /did/ she? DAVID Nooo.. RICKY You two always stick together. DAVID Ricky, it is not /like/ that, mate. RICKY Listen, I've got myself somewhere to live an' I've got myself a job, all /right?/ I don't need you /or/ Pat. DAVID All right /mate/.. [motions he surrenders, his hands up, leaves] ------------------------------------------------------------------------ [At the hospital, KATH is visiting PHIL, who is a bit out of it.] KATH So how're you /feel/in'? PHIL A bit better. Uuuh. They're gonna do another scan in a bit. KATH Oh, I picked the wrong time, you know-- PHIL No, no, don't go. It'll only take a few minutes. KATH Well, perhaps I'll get a coffee or something when you're gone. PHIL [pause] Has anyone seen Grant? KATH No. You know the police let him go? PHIL Yeah, Ricky--he told me. KATH [pause] Why did you /lie/ for him, Phil? PHIL W--What happened in the Arches is between me an' Grant. An' no one else. KATH But he could have /killed/ ya! PHIL It wasn't Grant's fault. KATH [pause] No, you're right there. [pause] I think /I/ know who to blame. ------------------------------------------------------------------------ [We instantly see SHARON in her living room moodily looking out the window. She starts to leave the window (she's dressed and made up).] ------------------------------------------------------------------------ [Downstairs in the Vic, BINNIE and STEVE talking.] BINNIE God, this is so weird. Everyone wants to talk about the same thing. "How's Sharon." "/Has/ Grant been in." STEVE You think this is weird, you should try /living/ here. BINNIE Has she said anything to ya.. STEVE No. BINNIE What's she gonna /do?/ STEVE What'd'ya mean?.. BINNIE Well, Grant /co-owns/ this place, doesn't he?.. STEVE Yeah. BINNIE Well he ha'ju'gonna let her carry on like this, /is/ he? STEVE What'd'ya mean. BINNIE Well, he won't just /give/ it away. STEVE [pause] Look, Sharon won't give up the Vic. Not without a fight. BINNIE Well she won't have any /choice./ STEVE Of course she will. She could buy him out. BINNIE Oh, what with: she couldn't af/ford/ it. CHELLE [comes up from the basement] You don't know Sharon: she'd do anything to hang onto this place. [SHARON has come downstairs, sees they're not on this end of the bar, sneaks out. /In/ the Vic, GEOFF walks in and only sees STEVE and BINNIE at the other end of the bar and not coming over to serve him.] GEOFF [amused] Excuse me? Any danger of gettin' any /service/ in here? [CHELLE pops up, unaware. She'd been doing something down under the bar.] ------------------------------------------------------------------------ [GRANT alone in Clare's room, broodingly staring. Leaves and starts gloomily crying in the living room on the couch.] ------------------------------------------------------------------------ [Out on the car lot, PAT comes up to DAVID, who's putting price stickers on cars.] PAT Well? How'd you get on? DAVID With what? PAT /Ricky,/ of course. DAVID I /tried./ I /really did./ PAT /Did/ ya? DAVID Yup. I went in there as nice as /pie/--and he didn't wanna know. PAT All right then--what'd'a say to him? DAVID I said I wanted him to come home, I offered him his job back. Ppppth--No helping some people. ------------------------------------------------------------------------ [The Vic, MICHELLE and GEOFF get a small table to themselves. The Vic is very slow now at 3:30.] CHELLE I'm sorry about earlier. [sits down] GEOFF Oh, that's all right. I just wanna spend some /time/ with ya. CHELLE It's just a bit difficult right now when I'm lookin' after the Vic for Sharon. GEOFF Yeah. An' who's looking after you? CHELLE I'm all right. GEOFF [doubtful] Mmmm. I /wor/ry about you, you know. CHELLE I'm not a child. GEOFF Yeah, what happens if you get /in/terviews, I mean.. CHELLE Well, I'll make ar/range/ments, I don't know what you're fussing about. GEOFF Mmm--It's a /lot/ to take on--all this /bar/ work. CHELLE Oh no, the Vic's the easy bit. It's just all the other stuff that's difficult. GEOFF [sighing] Yeaaah--How /is/ Sharon. CHELLE She's hangin' in there. She's shell-shocked, I think. GEOFF Has Grant been in again? CHELLE No; I think he's made his point. GEOFF [pause] He must be feeling pretty confused. CHELLE /He/ must be!-- GEOFF [surprised] Yeaah.. Well, /think/ about it, put yourself in /his/ place. CHELLE I can't believe you're actually taking his /side../ GEOFF I'm not. CHELLE Yes you are; you're actually feelin' /sym/pathy for him. GEOFF Whaa--I'm just tryin' to see i'from /his/ perspective. I mean, you gotta try an' understand /his/ feelings a bit. CHELLE Well, he do'--he doesn't /have/ any /feel/ings. He's a /thug/ and a bully. GEOFF Oh come on, don't be simplistic--Miche-- CHELLE No! No, not in this case! An' anyway, you don't know anything a/bout/ 'im! You don't know /what/ he is, /what/ he's done, /or/ what he's /ca/pable of. GEOFF Come on--he /can't/ be /that/ bad! CHELLE Believe me, he is. STEVE [comes over] Michelle. CHELLE Mmm. STEVE Have you seen Sharon? I need her to unlock the uh--storage cupboard. CHELLE Isn't she up/stairs?/ STEVE No--I've just gone up there. GEOFF [doesn't see the significance of what MICHELLE's taking in] She must'a gone /out./ [MICHELLE's alarmed, knows what this means and rushes off.] ------------------------------------------------------------------------ [SHARON's in the hospital, in front of an empty bed that she's apparently been told is Phil's. She's perplexed, lost, wondering. She finds a nurse.] SHARON Um, excuse me.. Um, I'm looking for Philip Mitchell.. I was told he was here. NURSE Are you a relative? SHARON No. [realizes] Well, yeah, I--I--I'm his sister in law. NURSE He's gone for a scan. SHARON What? NURSE A brain scan.. It's routine after a head injury. SHARON But, is there a problem? NURSE It's just a check, really. There's no need to worry. SHARON A--how long will he be? NURSE Not long; you're /wel/come to wait. SHARON Thanks. [cautiously goes over and sits on a chair by his bed.] [In the hospital hall, we see KATH waiting and walking slowly back to Phil's area of the hospital. She goes through a door to another hall--but we don't know that at first--it looks like the doors to where Sharon is--all the doors look alike.] ------------------------------------------------------------------------ [Outside the betting shop, ROBBIE strolls onto the street, looking at the Dog Lover (DL). ALAN walks up to DL but it's as if DL doesn't see him.] DL Iiiii should a /guessed/ you 'ad him.. ALAN [goes up to him again] I want a /word/ with you. DL [to ROBBIE--he scarcely acknowledges ALAN] Just hand over my dog. ROBBIE What--so you can kick 'im /around/ again? DL Wha? ROBBIE [sneering, quiet]{???} Torturing harmless animals. ALAN Did you do this? DL An' /who/ are you. ALAN /Me?/ I'm 'is /Dad../ DL Oh, /yeah?/ Who's /he,/ then, the white sheep of the family? ALAN [grabs DL's jacket by the neck and holds on. DL is surprised and yelps.] Listen Mack, I'll call the R.S.P.C.A. DL What're /they/ gonna do? Sell me a sticky-badge? ALAN [pulls up the jacket] They'll make sure you /never/ kick another animal again. DL Oh yeah? ALAN Yeah.. An' do you want me to show you what it's like to be the one with the /bruises?/ ROBBIE Yeah, an' I don't think /Well/hard wants to /stay/ with you anymore, mate. ALAN An' /I/ think you'd better go, yeah? See, we've only just /got/ our dog, an' if he /went/ for ya, I wouldn't be able to con/trol/ 'im. [pushes DL, letting go of the jacket.] [DL steps back a few paces with the push. His tone's changed to sour grapes and fear.] DL You're /wel/come to 'im. He's only a worthless mongrel. Heh-heh. /No/ one refused a home with /your/ family, ha. [goes away fast] ------------------------------------------------------------------------ [In the Market are posters, "Join our BATTLE for BRITAIN." ART starts tearing them down.] ART God--These are up /every/where. I--uh-- SANJAY Yeah. /Looks/ like it. ART They're all {???}. I've a mind to go down an' rip 'em all /off./ SANJAY No point, I mean they'll only come back tonight an' put /new/ ones up. ART .. Well, I don't know why they /bo/ther. I mean we don't /hold/ with racists 'round here. SANJAY If /only/ it were that /easy/. ART What'd'ya mean? SANJAY Well, /I/ reckon they're gonna get in at the next election. ART Wha--on the Council? SANJAY Yeah. ART /Ne/ver! A bunch of /ignorant racists/ like /that?!/ SANJAY Yeah. Trouble /is/ Arthur, they're not that ignorant these days. They're quite /clever/. ART How? SANJAY I mean, they're /claiming/ that the Council's /housing/ policy is /rac/ist. They say all the Asians an' blacks get first call. ART That's rubbish. SANJAY Arthur, /you/ know that, an' /I/ know that, but there's lots of people 'round 'ere who /go for/ it. ART [won't believe what SANJAY's so sure of] Oooooh, I don't think so. SANJAY Yeah--Arthur, /you tell/ people what they wanna hear, you get their vote! An' right now, people're looking for Someone Else to blame for /every/thing. ART No, not /'round here/ Sanjay! We won't /let/ that /hap/pen. SANJAY I /hope/ not--I /really/ do. ------------------------------------------------------------------------ [ALAN and ROBBIE walking home.] ROBBIE So what we gonna do now? ALAN What d'you mean? ROBBIE I mean, /that/ bloke was a real /push/over, weren't he? Now we got /Mum/ to deal with. ALAN Don't worry about it; leave your Mum to me. I know how to handle her. ------------------------------------------------------------------------ [IAN and CINDY at home.] IAN You /solved/ it?! /How?!/ CINDY Female Intuition. IAN Uh--d--so where /is/ he? CINDY [secretive fun] I don't know if I should /tell/ you that. IAN Oh come on, love, tell me, tell me, please. CINDY Well, let's just /say/, "He's the perfect man for the job." IAN Uh--so where'd you /find/ 'im? CINDY Well, you /know/ that chippie down Victoria Road? IAN Uhhhh.. The one run by the old Chinese couple. CINDY That's the one. IAN Right. CINDY Well, he works /there/.. Or he /did/.. IAN So why's he wanna come work for us? CINDY I offered to match his present salary plus ten percent. IAN Ten per/cent/? CINDY Oh Ian! He knows the business; it'll be worth it, /believe/ me! IAN Yeah, I--I /do/ believe you love, I /do/.. [having fun, not very angry] You could o' said /five/ percent. CINDY [hits him in fun] Ge--he. ------------------------------------------------------------------------ [CAROL's taking trash out of the house and sees ROBBIE and ALAN with Wellhard.] ROBBIE [shouts and runs over in joy] Wellhard's come /home/, Mum! ALAN We had a bit of business to sort out. CAROL Oh yeah? ROBBIE [happy] Yeah, but it's all /sorted/ now, i'n't it, Alan. ALAN [quietly] Yeah. ROBBIE I mean, his owner won't be expectin' him /back/ anymore, /will/ he! [much calmer, more seriously] Can I /keep/ him Mum.. CAROL Yeah, yeah, of /course/ you can. Tell you what--get 'im inside an' get him something to eat--he looks a bit hungry. ROBBIE Gooood.. [starts heading inside] CAROL Oh, and, uh, Robbie? When he's fed, you can give him a bit of a /ba/th, aye? ROBBIE Yes--Whatever you say. [continues home] CAROL I think you owe me a bit of an expla/na/tion.. ALAN Yeah. ------------------------------------------------------------------------ [At the hospital, a NURSE wheels PHIL into the bed area.] NURSE Looks like you got company. PHIL [irritated, pauses] What you doin' here? ------------------------------------------------------------------------ [KATHY slowly walking down hall, lost in her thoughts.] ------------------------------------------------------------------------ [Back to PHIL and SHARON as NURSE is getting him ready by the bed.] SHARON [hesitant, protesting, urging in some way] .. If I can just. PHIL Sharon, you shouldn't even /be/ here. SHARON I /had to./ PHIL Look. Can't you see what's happened--everything has changed-- SHARON No--I just need to /tell/ you somethi-- PHIL [he personally needs her to be gone] Look, Sharon, we got nothing to /say/ to each other, all right-- SHARON Phil, /please/--I-- PHIL Sharon, /just go/, will ya? SHARON Sorry, so sorry. [rushes out] [Guess who SHARON runs into out in the hall. KATHY is right on it.] SHARON Kathy--Kathy I'm /so/ sorry-- KATHY Oh, grow up, Sharon. SHARON Kathy, I /need/-- KATHY What!? .. What /do you need?/ I don't even know how you can show your /face/ around here. .. Uh. .. Don't you /real/ize what you've done? .. This is all */your/* fault! -boom- -boom- -boom-boom- ------------------------------------------------------------------------ [show's time: 27:00] [*Credit Roll* with theme music. Long version of exit theme: Save music (1mb mp3).] [time: 00:30; total with intro and credits: 27:57] ------------------------------------------------------------------------ Transcript of the *next* episode (the next Monday) ------------------------------------------------------------------------ Return to the Television Transcript Project email Last Updated: 1 March, 1998 This fan page is *for curiosity and fun* and is not intended to infringe on any copyright nor to encourage such. 1 [x] close This Page is an outdated, user-generated website brought to you by an archive.It was mirrored from Geocities at the end of October, 2009. For any questions concerning this page try to contact the respective author. (To report any malicious content send the URL to oocities(at gmail dot com). For question about the archive visit: OoCities.org .