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Minky, Pinky, Peach

Screenplay, First Draft

by

Philippa Cousins & Jeremy Sandford

© BFI / Philippa Cousins / Jeremy Sandford / Celtic Productions

Present day centre city Cardiff forms the urban Welsh backdrop for this powerful story with a strong feminist message.

Some unacceptable areas of men’s lust are presented through the eyes of a teenage lass who services them.

Armies of evil are arrayed against her. Despite, or perhaps because of, her youth and innocence, peace wins through.

Manifestations of male sexuality called up are explicit. We’ll imply rather than state them.

Sexist and racist charges may be brought against this story. (The colour of Gish’s skin might be one battle sector.)

I’m a long standing feminist and active in racial politics, so I’ll be eager to fight my corner.

I’m happy to make concessions if rebuffed. Philippa feels the same. That battle however has not yet been entered.

Jeremy Sandford

Minky Pinky Peach

October 1997

150 continued

She looks at both of them.

Fifi: (Pointing like Meanie, Minnie, Mo, she/he goes from Peach to Gish to Peach) Minky, Pinky, Peach.

She points to Peach. Fifi takes the knife from Fisher and advances on Peach. Peach feels Gish’s arms around her. His hot breath on her neck as he says:

Gish: I won’t cock up, Fisher. I won’t.

He holds Peach as Fifi approaches.

Gish’s face is opposite Peach’s as he secures her ready for Fisher. He looks in her eyes and she looks back in a glance that recalls all those times of love-making, but with eyes no longer of love but of absolute terror.

Peach: Gish?

Peach knees him in the balls and as we see him double up, she jumps back and quite expertly with her rump smashes the window and she is outside on a broken glass-topped wall, then she’s out on the street.

151 The Docklands Flat

Fifi runs to the window but does not fancy jumping out of the shattered window.

Fifi: After her!

All of them head for the door at the top of the staircase.

152 The Street

Peach has landed skew whiff but safely. She staggers, looks up at the window.

153 Staircase

The others are piling down the staircase but going too fast - and there is a machete flaying about.

154 The Street

Peach notices the car that Fifi and the others came in. The key is lying on the floor, just in front of the seat.

155 The Staircase

The others have got themselves entangled in a mass of struggling arms and legs. There are too many of them squashed against the door which won’t budge as it opens inwards.

156 The Street

Fisher’s car stands outside. Peach climbs quickly into the driving seat. She puts the key in the ignition and is about to turn it but halts as the others come staggering out of the doorway to the flat. They don’t notice her, sitting in the car in the shadows.

Fisher: Fifi, go that way. I’ll go this. She can’t have got far.

They go in different directions down the street, Fifi, Fisher and bouncer eager and angry, Roxanne and Gish less so.

Peach waits a moment then starts the car and drives quite gently, only accelerating as an astonished Fifi notices her passing him.

157 M4 Motorway

Peach is happily driving, smiling to herself.

158 A Street

Fisher is speaking urgently into his mobile.

Fisher: No sign of her this way. Fifi, do you match me?

158B Motorway

Peach sees a big sign showing the direction for Newport and turns down the road indicated.

159 A Street

Fifi talking into his mobile.

Fifi: The fresh fleshed one has scarpered - in my motor!

159B Road on Outskirts of Newport

Peach still driving.

160 A Street

Fisher: Which way? Quick, I’ll dial a taxi.

161 Newport City Centre

Saturday night is in full swing, the streets are full of glamourously dressed people, mainly young folk of Peach’s generation.

Peach sits in the car watching them a moment. Then she smiles and collects up the money Fifi threw at her.

She’s stopped the car on a double yellow line or in a pedestrianised area. The happy Saturday night crowds continue to throng past her.

She notices a huge plate glass window of a department store displaying fitted kitchens and bedroom suites.

She mounts the kerb and drives the car gently but firmly through the window so it ends up among the beds. Broken glass showers about her.

She climbs out and walks out through the shattered window.

ROLL CREDITS

Behind them we see:

Now she’s outside a club, where a long queue of youngsters of her own age are waiting. The two bouncers at the door are also young. As she hovers by the door, one of them asks (in Welsh)

Young Bouncer: Hello gorgeous! Are you coming in?

He nods, inviting her to jump the queue.

162 In the Newport Club

When we last see her, Peach is happily dancing with people her own age. She flashes a smile at us and winks at us, the audience, a great big wink.

The camera stays on her.

THE END

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