INVISIBLE

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EXT. MONTAGE - FIELDS BESIDE THE MOTORWAY - NIGHT *

Ana and Grace walk through a furrowed field beside a motorway, lit only by the lights of speeding cars. Grace turns on her battered smartphone, checks a map, and then turns her phone off ever so quickly.

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EXT. MONTAGE - FIELDS BESIDE THE MOTORWAY - NIGHT/DAWN *

Ana and Grace walk through a field of cows beside the motorway. Used to looking after cattle at home, Grace reaches out her hand to touch one of the cows as they walk past.

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EXT. MONTAGE - FIELDS BESIDE THE MOTORWAY - NIGHT/DAWN *

Ana and Grace walk through a field beside the motorway. There’s an old battered fridge on its back ahead of them. Whilst Ana walks past, Grace can’t help herself from opening the fridge door. Inside, there’s a yellow plastic duck. Her mum ushers Grace on. Grace grabs the yellow plastic duck, puts it in her bag, and walks on.

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EXT. MONTAGE - BEFORE THE BRIDGE - NIGHT/DAWN

The bridge over the motorway is ahead of them and the start of the buildings of outer London ahead of them. Grace doesn’t really want to do it there and then - it’s cold and dark - but Ana gives her a look which says she has to and Grace gives in and goes for a wee behind a bush whilst Ana looks towards the lights of London. Grace sings as she wees.

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EXT. MONTAGE - BRIDGE - NIGHT/DAWN *

Ana and Grace walk over a bridge above the motorway, traffic streaming past beneath them. Ana walks across her eyes straight ahead, London rising ahead of her, but Grace is entranced by the lights of the traffic either side of her, and can’t understand why her mum isn’t looking too; why she’s so serious. So Grace hangs back in the middle of the bridge, unnoticed by her mum for a good few steps, until she turns to look for her daughter, who - with a big smile on her face - does a little dance. Ana’s not really in the mood and turns to walk on, but Grace doesn't move. GRACE Ma-ma! Ana doesn’t want to turn. GRACE Ma-ma! Ana stops, turns, and does a little dance for her daughter. Grace smiles and runs to catch up with her mother, taking and squeezing her hand, the urban skyline of London taking shape in front of them in the early morning light.

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Good, but complicated

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EXT. MONTAGE - HOUSES - NIGHT/DAWN

They pass a row of houses on the edge of suburbia, the streets lit up with intermittent street lamps. Ana stays in the shadows, but Grace walks underneath the street lamps and touches them, happy that they’re giving off light.

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Good, but complicated

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EXT. MONTAGE - GATES TO LARGE HOUSE - NIGHT/DAWN *

Ana and Grace walk past the gates to a large house on the outskirts of London. Ana notices the CCTV camera mounted outside the gates. Suddenly the gates start to open, making them both jump, and they move out of the way as a Range Rover comes through the gates, and motors away. Grace stares at the car for a good while, but then notices something in the grass by the side of the path: a golf ball. She walks over to it, picks it up, puts it in her bag and keeps walking.

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Good, but complicated

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EXT. MONTAGE - TOWN NIGHTCLUB - NIGHT/DAWN *

As Ana and Grace reach a small town on the outskirts of London, a bouncer is ejecting a drunken girl from a cheap nightclub across the road. Grace is shocked as the bouncer pushes the woman away from him and another drunken girl comes out shouting and screaming at her, gets right up into her face, grabs her hair and within seconds they're on the ground. The bouncer goes back inside as a young man comes out of the club, gets out his mobile phone to film the fight. Ana tuts her teeth to tell Grace to look forward, but Grace can’t help but look as they walk past.

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Good, but complicated

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EXT. MONTAGE - ROAD BETWEEN LOCAL TOWNS - NIGHT/DAWN *

Ana and Grace are lost for a moment and Grace is turning her phone on to look at the map again. As soon as the map comes up the phone battery dies. Grace is annoyed but Ana is calm and reassures Grace that she has an idea which way to go. We focus on Ana as she walks the two of them onwards, her worry hidden beneath her determination.

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EXT. MONTAGE - THAMES PATH - DAWN/MORNING *

Ana and Grace find the Thames path and start to follow it into London. - This would be a way to navigate into London without having a map. - This might inform a variety of subsequent locations

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EXT. MONTAGE - OUTSKIRTS OF LONDON - DAWN/MORNING *

Grace has a stone in her terrible knackered shoes. Whilst she sits down to take her shoe off and knock it to get the stone out, Ana looks up at a tree by the side of the road, the early morning light streaming through it. It’s beautiful, and though there’s part of her that fights it, there’s relief and optimism in the experience for her.

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EXT. MONTAGE - OUTSKIRTS OF LONDON - DAWN/MORNING *

As they walk, they’re both singing the same traditional folk tune under their breaths. They’re determined, in step, and walking faster now.

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EXT. MONTAGE - OUTSKIRTS OF LONDON - DAWN/MORNING *

As Ana and Grace walk down one side of the road there’s an early morning runner on the other side. He’s wearing a Rocky-style grey hoodie with the sleeves cut off, and he’s running with a smallish dog on a lead wearing exactly the same thing. The idea of a dog on a lead is so ridiculous to them by itself, let alone one dressed up like its owner, that once he’s gone past Grace can’t stop blurting out a laugh, her mum giving her a look to stop her, making it even worse for Grace, because she knows her mum wants to laugh too.

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Good, but complicated

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EXT. MONTAGE - JUNCTION - DAWN/MORNING *

As Ana and Grace approach a junction, a souped up, knackered Subaru, dance music blaring from within, screeches around the corner, ignoring the red light, and they both make the same sound of surprise. Ana stops them both for a moment, but as it roars away from them into the distance they start to walk on again. Ana notices a CCTV camera ahead of them.

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Good, but complicated

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EXT. MONTAGE - TALL BUILDINGS - DAWN/MORNING *

As they walk onwards, Grace looks up at a tall modern building rising above the others around it, but then her eyes are drawn downwards as the first double-decker bus she’s ever seen drives past. She’s amazed to be here.

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EXT. MONTAGE - PARK - EARLY MORNING *

Grace takes a pee in the bushes in a park whilst Ana looks out for her to make sure nobody is coming. Grace sings as she pees.

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Good, but complicated

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EXT. MONTAGE - PARK - EARLY MORNING *

Ana and Grace walk past a set of park railings within which there’s a young woman posing on a child’s swing in a garish, fashionable dress, ridiculous shoes and massive sunglasses. She’s got a long selfie stick and she’s pouting at the lens, taking loads of pictures of herself. She’s a wannabe instagram influencer, utterly oblivious to anyone looking at her. Grace stares as they walk past, her view is quickly obscured and she smiles to herself in amazed happiness as they walk on.

Love

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Good, but complicated

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EXT. MONTAGE - RESIDENTIAL STREET - EARLY MORNING *

Ana and Grace walk down a street of nice houses, each one of them aligned with the other. They stop for a moment to admire the architecture, the shape of a window, perhaps. When Ana and Grace see their own reflections, they act differently. Ana startles slightly as though someone has seen her and starts to move on. Grace hangs for a moment, doing a little dance perhaps, before Ana returns and pulls her daughter onwards.

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Good, but complicated

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EXT. MONTAGE - BUS STOP - EARLY MORNING *

Ana and Grace sit in a bus stop. They’re eating. It’s cold. We just watch them eat the small amount of food they have. Once she’s finished, Ana sees her daughter staring into the distance, a little forlorn, clearly tired. Ana watches her daughter for a moment then picks up the yellow duck Grace had found earlier and throws it at her to perk her up. It’s clear they've got to get up and go.

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Good, but complicated

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EXT. MONTAGE - RED PHONE BOX - EARLY MORNING *

Grace has her reluctant mother posing with her outside a red phone box. She has her phone out trying to taking a selfie and her mum wants her to be quick. Ana forces a smile and Grace takes the photo, but as she tries to get the photo up to show her mum, the phone battery dies. Grace is a bit panicked, and although a little stern, Ana’s response isn’t to admonish, but to get them quickly on their way.

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Good, but complicated

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EXT. MONTAGE - ART INSTALLATION - EARLY MORNING *

Ana and Grace are sat down on the ground beside a useless external art installation. Ana passes a piece of bread to Grace and she takes a bite and hands it back to her mum who wraps it up and puts it back in her bag. Grace stands to look at the art installation, curious as to its purpose, while Ana notices someone walking towards them in the distance which causes her to ushers her daughter onwards.

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Good, but complicated

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EXT. MONTAGE - ZEBRA CROSSING - EARLY MORNING *

Grace walks straight out onto a zebra crossing as a car approaches which panics Ana, but the car stops, and the driver smiles at them. Ana’s not quite sure what to do for a moment, but then walks forward and Grace follows after grinning widely at the driver.

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EXT. MONTAGE - STREET - EARLY MORNING *

Ana notices an Uber driver as he drives slowly past. He looked South Sudanese, but he’s distracted and doesn’t notice her looking at him.

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EXT. MONTAGE - BILLBOARD - EARLY MORNING *

Ana and Grace walk past a billboard on which there’s an ad for a private girl’s school with happy smiling girls and bright futures. Neither notice it as they walk by.

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EXT. MONTAGE - STREET OF SHOPS - EARLY MORNING *

As they walk past a row of tatty shops, Grace notices a box of fried chicken open and hardly touched. Then a pool of last night’s sick. An electric hire bike. Then she sees a stray leaflet for a beauty salon which she picks up and puts in her bag.

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EXT. MONTAGE - CROSSING - MORNING *

Grace meets eyes with a boy on the other side of the street, he’s of East African descent, perhaps Ethiopian. He’s wearing a cap and headphones. Grace pushes her mum slightly to get herself opposite him as the lights change and they can cross. Ana doesn’t notice what’s going on as her eyes are fixed on a CCTV camera looking at them.

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Good, but complicated

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EXT. MONTAGE - STREET OF SHOPS - MORNING *

As Ana and Grace walk along a street of shops a homeless man sits on the ground. He has a small guitar with 2 strings, which he’s twanging randomly. As they pass Grace sees that he’s utterly addled by drink or drugs, but he senses her and looks up at her, uttering words automatically. HOMELESS MAN Change for some tea. Change for some tea. Their eyes meet, but Grace pulls her eyes away and walks on with her mother as he returns to his twanging.

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Good, but complicated

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EXT. STREET OF SHOPS - EARLY MORNING *

Ana and Grace walk along a local London high street of sole- trader businesses and cafés. There are a few more people around now and Ana is more self- conscious than before, averting every gaze. Grace looks in at the shop windows: a newsagents, a bookies, a fabric shop, a fashion outlet, an afro hairdressers. It’s more multicultural than she expected, but she’s even more surprised to see an African supermarket, her eyes lingering on some of the food she recognises from home, although with a subtle sound from her mum, they walk on.

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Good, but complicated

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