INT. HOUSE. ATTIC. DAY.
We pan along the walls of the attic.
I want a go.
You've had a go. You've had lots of
goes. She's asleep anyway.
It's pretty much as we remember it, except it's clearly at
the early stages of being turned into a nursery. A cot, a
mobile, the beginnings of a mural on the wall.
We find George and Nina, sitting on the floor together,
cooing over their baby.
George, you're gonna wake her. So
selfish, my God.
Give me the damn baby.
Nina is laughing. She hands him the baby. Having her in his
arms makes him beam.
Why don't you go out for a bit. Get
some fresh air. You haven't left the
house for nine days.
Ah, I dunno. I'm fine.
It'll do you good! Read the paper,
sit in the park, feed the ducks, get
You just want to hog the baby.
You're not interested in me now
she's on the scene.
That is simply not true... whatever-
Full moon in two weeks, what do you
think's going to happen?
It's clearly been playing on George's mind too.
Maybe nothing, maybe she'll be fine.
I'm sure she can see Annie. Doesn't
that mean she's like us?
George looks at her. He can't answer that any more than Nina
can. A heavy beat.
How is Annie?
Still at the 'displacement cleaning'
And you? How are you doing?
Mitchell was my best friend. How am
I supposed to feel?
I'm ok. I've got you two.
I'll tell you one thing, we have got
to stop calling her 'the baby'.
You know my feelings on the matter.
Ok, for the 45th time, we are not
calling her Sapphire.
It's a traditional Jewish name! It
was my Grandmother's name!
And I'm sure if my grandmother had
been Israel's first stripper, I'd be
very proud too.
Seriously, go out, you're irritating
(kissing them both)
Ok, back in ten minutes. Be good.
Nina gets to her feet, crosses to the door. She stops, looks
back at George. Framed in the doorway, she looks beautiful.
I don't know. You.
(grins) Getting there.
She leaves, closes the door.
The original script is available here: