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return to MAIN
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[stop/start music] |
Scenes:
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SCENE 1. EXT.EVNG. |
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FX |
IT IS AUGUST 1944 A FEW MINUTES AFTER THE DRAILMENT OF AN EVACUATION TRAIN TRAVELLING FROM LONDON TO THE NORTH OF ENGLAND. THE POLICE AND NURSES ARE JUST ENTERING THE CARRIAGE. |
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1. PASSENGER: |
Oh my arm… God… this bloody war... |
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2. CHILD |
(CRYING) Mum… my leg hurts. |
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3. NURSE: |
(TO POLICEMAN) Take this lipstick officer, look for the ones that aren’t making any noise first then put a big cross on them where it can be seen… get the walking wounded out of the way as soon as possible… |
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FX |
AMBULANCE & POLICE BELLS - GENERAL CRYING GROANING ETC |
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4. POLICEMAN1: |
(SHOUTING) The emergency services are here… please do your best to remain calm… the medical staff will get to you as soon as possible. If you are able to walk, please make your way to the exit taking care not to fall over or tread on anyone. Please remain calm we will get to you as soon as possible… |
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5. PASSENGER: |
Officer… can you get a nurse over here.. There’s a little girl with a bad gash on her head… she’s out cold… |
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6. POLICEMAN2: |
Be with you in a moment sir… just trying to get through… |
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FX |
STUMBLING NOISES. POLICE HELPING PEOPLE OUT OF THE CARRIAGE ETC |
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2. POLICEMAN1: |
(SHOUTING) Nurse! Nurse! Can we get a stretcher over here please. |
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3. NURSE: |
Don’t move them till I get there, the Doctors are on their way… |
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SCENE 2 Top |
CROSS-FADE TO OUTSIDE. POLICE CAR ARRIVING AND POLICE SERGEANT JOINS THE SCENE OUTSIDE THE DERAILED CARRIAGE. |
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4. SERGEANT: |
(NORTHERN – EFFICIENT) What’s the situation Constable? |
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5. CONSTABLE: |
I think everyone’s shaken up a bit but it doesn’t seem too bad Sarge. Just the one carriage off the rails. |
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6. SERGEANT: |
I can see that. Any serious injuries? |
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7. CONSTABLE: |
A bit too early to say Sarge. There are a couple of Nurses inside. They were all children in this carriage. Apart from a couple of adult’s keeping an eye on them. Look, there’s a nurse just coming out of the carriage Sarge. |
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8. SERGEANT: |
What’s it like in there Nurse? Many hurt? |
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9. NURSE: |
It’s not too bad Sergeant. Plenty of superficial cuts and bruises and a couple of cases of concussion. The odd broken arm. Just one little girl unconscious, a cut on her head but no visible signs of serious injury. I’m just organising a stretcher for her. I don’t think the train was travelling too fast when it came off the rails. It’s fortunate that the carriage stayed upright. God knows what caused it. |
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1. SERGEANT: |
Yes, well, we’ll look into all that later. We’ll need to speak to the evacuation officer… have you seen her anywhere? |
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2. NURSE: |
I think she’s sat on the embankment on the other side of the carriage. She’s had a bump on the head. Hit by something… |
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3. SERGEANT: |
Right… |
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4. NURSE: |
And we have a problem with the little girl who’s unconscious. |
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5. SERGEANT: |
Anything we can do? |
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6. NURSE: |
We can’t identify her. Her address label’s missing. Probably torn off in the rough and tumble. |
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7. SERGEANT: |
You leave that to us. We’ll speak to the Evacuation Officer. Constable, go and do that now will you? And take a look at the little girl on the way. |
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8. NURSE: |
The evacuation lady doesn’t know what day it is. It’ll probably take a few hours for her to gather her wits. |
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9. SERGEANT: |
Oh... Right... Just try to get what you can Constable. We need her evacuee lists as soon as possible. |
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10. CONSTABLE: |
Right Sarge. |
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11. SERGEANT: |
How soon will you know how many kiddies need sending back, and how many can go on? |
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1. NURSE: |
Shouldn’t be too long Sergeant. Most of them will be able to carry on I would think. Give us half an hour or so to assess things. The Doctors are working their way through the carriages now. |
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2. SERGEANT: |
Which hospital will the injured be taken to? |
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3. Nurse: |
Crewe General… I don’t think there’ll be that many but we’ll give you the numbers as soon as we know them. |
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4. SERGEANT: |
Right. I’ll get on to the local barracks and see if the Army can help out with transport. I’ll speak to Thomas’s coaches as well. I understand this train was terminating at Carlisle. |
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5. NURSE: |
Yes I believe so. |
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SCENE 3. EXT EVNG.
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FADE OUT AND FADE IN TO EVACUATION OFFICER. SEATED ON GRASS EMBANKMENT TALKING TO CONSTABLE |
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6. EVAC. OFFICER: |
(BIG HEARTED/WRVS TYPE) God it was terrible! The carriage just seemed to take on a life of its own. Bumping and swaying. And the noise! All the banging as it rattled along the sleepers it was deafening. The children were thrown off their seats and luggage was flying about everywhere. I thought the end had come dear I can tell you! The carriage was shaking about that much that I thought we were going to turn over. I was hanging on for dear life when something hit me on the back of my head and everything went black. |
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1. CONSTABLE: |
Yes it must have been frightening Madam. Do you feel well enough to answer a few questions? |
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2. EVAC.OFFICER: |
I’ll try, but I do feel a bit dizzy my dear, I’m not thinking straight and everything before the crash is very hazy. |
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3. CONSTABLE: |
I understand there’s a little girl who’s unconscious and can’t be identified. Do you know anything about her? |
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4. EVAC.OFFICER: |
I’m sorry dear… no. |
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5. CONSTABLE: |
Where are the passenger lists? |
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6. EVAC.OFFICER: |
God knows sweetheart. It was bedlam in there; there was papers and clothes flying about all over the place. One case smashed through a window and a load of stuff got thrown outside. Even if we find the list, there may have been other children on the train who weren’t in our evacuation party. |
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7. CONSTABLE: |
Has anyone taken you to look at this little girl? |
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8. EVAC.OFFICER: |
Yes dear a Nurse took me. It didn’t mean a thing. God I hope my memory comes back properly love, but there were nearly a hundred kiddies in that carriage and I can’t put a name to any of them. |
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9. CONSTABLE: |
I went for a look at her on the way here, I’d say she’s about 9 or 10 years old with dark wavy hair. I’d better make a note of that. |
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10. EVAC.OFFICER: |
That description matches about half the little girls on this train love. Poor little kid. Talk about out of the frying pan. Where was her address label? Are you sure she’s one of ours? I checked every single label on those kiddies when they boarded. |
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1. CONSTABLE: |
I dunno, must have got ripped off somehow. She was in your carriage though. |
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2. EVAC.OFFICER: |
Oh dear, I’m feeling a bit funny love, My head is floating, I’m feeling sickly, I can’t think straight. |
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3. CONSTABLE: |
I’m sorry. Has a Nurse seen to you, have they given you anything? Shall I get someone? |
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4. EVAC.OFFICER: |
No thanks dear. I’ll be all right. I’ve seen a Nurse. She said it’s concussion. They said it will probably pass in a couple of hours. I’m waiting for an ambulance to go for a check up but let’s get these kiddies sorted out first eh? |
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5. CONSTABLE: |
Try not to worry. I’ll give you a few more hours then I’ll come back to see you in hospital and try again |
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6. EVAC.OFFICER: |
I’ll do my best love. If I do remember anything I’ll contact Crewe Police Station. |
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7. CONSTABLE: |
Thanks for your help. P.C. 79 Andrews. We’ll be in touch. Oh… I nearly forgot. She was carrying a doll. Some kind of Tudor thing. I think it was supposed to be Queen Elizabeth the first or Mary Queen of Scots or something, I’m not very good on history. Does that give you any clues? |
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1. EVAC.OFFICER: |
Not really. It’s all so hazy love. But for some strange reason it’s making me think of Blackpool Tower. |
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2. CONSTABLE: |
Mmmm…I see…. that may turn out to mean something I suppose, who knows? We’ll have to wait and see. Thanks again. Look after yourself now… |
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SCENE 4. INT EVNG. |
AMBULANCE |
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3. DOCTOR: |
(TALKING TO EMMA) Can you sit up on your own, that’s fine, well done. I’m just going to listen to your chest. Breath in… out… and again. Once more… while I go round the back, good… excellent… open your mouth nice and wide… say Ah… good. Now let’s have a look at your arms and legs. Well you don’t seem to have anything broken, except your smile… is your smile broken? That’s better you have a nice smile. Are you hurting anywhere? |
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4. EMMA: |
My knee hurts a little. |
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5. DOCTOR: |
Let’s have a look. No sign of any damage. Can you bend it for me please… that’s it… all the way… good girl. Nothing serious there. Just a bad knock. You have a nasty bruise on your forehead there. Are you feeling sick or dizzy at all? |
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6. EMMA: |
No not really. A bit foggy I suppose. |
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7. DOCTOR: |
What’s your name? |
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8. EMMA: |
I don’t know. |
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9. DOCTOR: |
Where do you live? |
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1. EMMA: |
I can’t remember. |
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2. DOCTOR: |
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3. EMMA: |
I…er.. I don’t know. |
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4. DOCTOR: |
Do you know where you are? |
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5. EMMA: |
Am I in hospital? |
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7. DOCTOR: |
Nearly right. You’re in the back of an Ambulance, you’ve just been in a train crash… well a derailment actually, your carriage came off the rails. Does that mean anything to you? |
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8. EMMA: |
No… |
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9. DOCTOR: |
Do you remember anything about all the bumping or anything hitting your head? |
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12. EMMA: |
Thank you. |
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13. DOCTOR: |
(TO THE NURSE) Mmmm… could be amnesia couldn’t it? Brought about by the bump on her head. Could be the shock of course, she may start to remember things in a couple of hours. We obviously have to admit her, get someone to keep an eye on her and question her in more detail later. See if we can prompt anything. Explain why she was on the train, talk about Hitler etc., question her about hobbies, see if that triggers anything. Oh and that doll is unusual… it may be a good line to follow. |
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1. NURSE: |
Yes doctor. |
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2. DOCTOR: |
Right. Whose next… (THE DOCTOR EXITS AS THE POLICE SERGEANT ARRIVES). Ah…Sergeant… |
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3. SERGEANT: |
Doctor... |
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4. DOCTOR: |
We should have some figures for you shortly Sergeant. Now I must get on… |
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5. SERGEANT: |
Thank you Doctor. (TO EMMA) Oh hello. How are you feeling? |
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6. EMMA: |
(MUMBLING) All right, I suppose… a bit funny… |
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7. NURSE: |
I think we should leave her to rest Sergeant, let’s go outside. You lie down pet. Try and rest. |
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FX |
CROSS FADE TO EXTERIOR |
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8. SERGEANT: |
Yes of course. (WAITING UNTIL THEY ARE OUTSIDE BEFORE SPEAKING) Well that’s a relief. At least she’ll be able to tell you where she lives and we can notify her parents. |
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9. NURSE: |
I don’t think so. Not yet anyway. |
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10. SERGEANT: |
Oh? |
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11. NURSE: |
Poor little mite. She hasn’t a clue where she is. We think she may have amnesia. |
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12. SERGEANT: |
What… permanently? |
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1. NURSE: |
It’s too early to say. Her memory may come back… it may be shock. We’ll have to wait and see. She’s in a daze. You had any luck with the evacuation officer? |
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2. SERGEANT: |
I’m waiting for a Constable to report back. I take it the little girl will be admitted to hospital? |
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3. NURSE: |
Yes. There’s nothing broken and no signs of internal bleeding but we’ll take her to Crewe for observation. |
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4. SERGEANT: |
Of course. Ah… Constable, any luck?. |
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5. CONSTABLE: |
Sorry Sarge. Those lists could be anywhere in all that mess. And she was too dazed to be of much use. I said I would see her again later in hospital. |
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6. SERGEANT: |
Damn! Right, take three men and search through the debris for those lists. Go back along the track if you have to. If we can just find the list, we can identify by elimination. |
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7. CONSTABLE: |
Right Sarge. On my way. |
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8. SERGEANT: |
Nurse after you’ve examined her at Crew, I think we should get her down to a London hospital, nearer home, if she can make the journey. |
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9. NURSE: |
Yes. I think she’ll be OK to travel. We’ll just keep her in overnight. I’ll make the arrangements. |
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10. SERGEANT: |
It will be better for her if we can get her description out to the London Bobbies. Poor kid. Her parents send her North because of the flying bombs and she ends up like this. The sooner we can hand this back to the London police, the better chance she’ll have of seeing her family again. |
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FX |
FADE OUT TO SOUNDS OF TROOPS ORGANISING THE CHILDREN ON TO TRANSPORT FOR DEPARTURE FROM TRAIN |
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SCENE 5. INT. MORNING Top |
ELEVEN YEARS LATER. AUGUST 1955. JOAN [EMMA’S SISTER] AND LEONARD ARE IN THEIR MID TWENTIES. THEY ARE OFFICE WORKERS IN SEPARATE FIRMS, LIVE IN A SOUTH LONDON SUBURBAN SEMI, THEY LOVE EACH OTHER BUT THEIR RELATIONSHIP IS NOT WHAT IT SHOULD BE APPROACHING THEIR FIRST WEDDING ANNIVERSARY. THEY ARE FINISHING BREAKFAST JOAN IS MISERABLE. |
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FX |
MUSIC OF THE DAY ON THE RADIO |
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1. LEONARD: |
(DEPENDABLE TYPE) I’ll be off then. (PAUSE). I said I’ll be going then. (PAUSE) Don’t I get a kiss? |
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2. JOAN: |
( EMOTIONAL TYPE BUT SHE KNOWS THIS AND TRIES TO CONTROL IT) What… oh… er… Yes. Sorry darling. Of course. |
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3. LEONARD: |
Is that the best you can do? (PAUSE) You’ve got to let it go you know. |
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4. JOAN: |
What do you mean? |
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5. LEONARD: |
You know what I mean. Don’t pretend Joan… Emma… |
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6. JOAN: |
I’m sorry Leonard, I can’t… |
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1. LEONARD: |
I’ve to go in early, I’m going to be late. I’ll be in trouble if I don’t get this months figures in soon. This isn’t the time. Let’s talk tonight when we get home from work. |
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2. JOAN: |
If you must… |
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3. LEONARD: |
I’ll see you later. Goodbye darling. Have a good day. Be thinking about what you want to do for our wedding anniversary next week. HE OPENS THE FRONT DOOR AS THE POSTMAN APPROACHES. |
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4. POSTMAN: |
Oh… good timing, could you sign for this package please Mr Wilson? |
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5. LEONARD: |
Sorry have to run. (SHOUTING) Joan! Can you get this from the Postman please darling? Bye! |
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6. POSTMAN: |
‘morning Mrs Wilson. Thanks. Here’s your milk. |
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7. JOAN: |
Thank you Les. Bye. |
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FX |
CHINKING MILK BOTTLES SHE TAKES THE MILK BOTTLES THROUGH TO THE KITCHEN, RETURNS TO THE LOUNGE AND OPENS THE PACKAGE |
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8. JOAN’S THOUGHTS: |
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V/O |
Good old Auntie Phyllis. What a lovely card. She never misses a birthday or anniversary in the family. Now… |
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FX |
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SCENE 6 DAY Top |
FADE OUT AND FADE IN TO AUGUST 1944 BUSTLING TRAIN PLATFORM WITH THE TRAIN |
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FX |
READY TO GO. EMMA’S FAMILY ARE WAITING TO SAY GOODBYE ON THE PLATFORM. CUT TO INTERIOR OF CARRIAGE. |
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1. EMMA: |
Let me through, I want to get to the window (SHY) Oh.. hello. |
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2. MARY: |
(FORWARD) Hello. Do you want to be friends? |
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3. EMMA: |
Oh Yes! |
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FX |
THE TRAIN BUILDS UP STEAM |
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4. JOAN: |
(FROM OUTSIDE ON PLATFORM) Bye Emma! Be careful! We’ll miss you! Emma lean out of the window I want to take your photograph. |
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5. EMMA: |
(SHOUTING) Bye Mam! Bye Dad! Bye Joan! I’ve got a new friend Joan. |
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6. JOAN: |
That’s good news Emma. I told you everything would be all right. Now let me take a smiley snap. There… got it! |
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FX |
THE TRAIN PULLS AWAY FROM THE PLATFORM TO A CHORUS OF GOODBYES FROM JOAN AND MUM AND DAD |
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FX Top |
CUT TO INTERIOR CARRIAGE WHICH IS FULL |
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1. EMMA: |
What’s your name? |
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2. MARY: |
Mary. What’s yours? |
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3. EMMA: |
Emma. |
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4. MARY: |
Was that your sister? |
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5. Emma: |
Yes. Joan. She’s just got a new job in a factory. |
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6. MARY: |
I wish I had an older sister. I haven’t got a brother either. |
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7. EMMA: |
Where are you going? |
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8. MARY: |
Blackpool. Daddy says it’s near the sea and there’s a big metal tower there. Where are you going? |
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9. EMMA: |
Not sure. Keston or something. It’s a farm and lots of lakes. It sounds very strange. It’s a shame we’re not going to the same place. I wonder who gets off first. That’s a nice doll. Isn’t she pretty? My Teddy’s all worn out. Can I hold her? What’s her name? |
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10. MARY: |
Lizzie. She’s a Tudor Queen. We could swap for a bit if you want. |
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11. EMMA: |
Oh isn’t she beautiful. What lovely clothes. |
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12. MARY: |
My Gran made them for me. She loves history. What’s your teddy called? |
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13. EMMA: |
Well, he used to be called Jimmy. But our dog bit his arm off and then an eye fell out, so my sister Joan said we should change his name to Nelson |
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1. MARY: |
Why? |
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2. EMMA: |
I don’t know. But it’s a nice name. I wish we didn’t have to go away. |
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3. MARY |
:Me too. It’s something to do with the deedlebugs. A YOUNG BOY CAN’T RESIST INTERRUPTING AT ‘DEEDLEBUGS’ |
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4. BILLY: |
Deedlebugs? Deedlebugs? Girls! Its Doodlebugs! They’re flying bombs. They don’t have pilots and they’re like a kind of robot. My dad says they are like something from science fiction comics, like space rockets from the future. |
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5. MARY: |
Well, whatever they are, they killed my Auntie Maureen a few weeks ago. It was terrible. My mum is really upset. I’ve heard them buzzing in the sky. |
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6. BILLY: |
Yes. When the buzzing stops they fall down and kill you. |
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AUGUST 1955. LEONARD IS HAVING A LUNCHTIME DRINK AT A LOCAL PUB, WITH AVRIL [CONFIDENT AND WORLDY] – AN OLD FLAME FROM HIS OFFICE. |
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7. AVRIL: |
(A LITTLE SARCASTIC) So… how’s your first year of wedded bliss been? It is a year now isn’t it? |
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8. LEONARD: |
(SHARPLY) You know it is. Give over…you were at the wedding. |
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9. AVRIL: |
(LAUGHING) Oooh… all right touchy. (SERIOUSLY) Things aren’t so good though are they? (PAUSE) I can tell Len. I know you too well. |
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1. LEONARD: |
Yes… well… that’s certainly true. (PAUSE) |
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2. AVRIL: |
I often wonder if… (LONG PAUSE) |
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3. LEONARD: |
…if what? |
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4. AVRIL: |
Never mind. The point is what’s wrong with you and Joan and how can you put it right? |
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5. LEONARD: |
I think I know what’s wrong but I haven’t a clue how to put it right. |
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6. AVRIL: |
(LAUGHING) What have you done? |
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7. LEONARD: |
Isn’t that just like a bloody woman! I haven’t done anything. It’s not my fault. She seems so distant all the time. |
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8. AVRIL: |
I was joking. You’re far too touchy. |
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9. LEONARD: |
Sorry. |
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10. AVRIL: |
So what’s happened? |
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11. LEONARD: |
It’s not something that’s just happened. It’s been there all along. It just seems to be getting worse. Or maybe I am getting more in tune to it. I don’t know… (PAUSE) |
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12. AVRIL: |
Are you going to tell me or do I have to wring it out of you. |
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13. LEONARD: |
It’s very difficult for me Avril. I think Joan is sinking into some kind of… depression… or mental illness or something and I don’t know how to handle it. It’s all to do with her sister Emma. |
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14. AVRIL: |
Oh yes, I remember. She disappeared during the war didn’t she? |
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1. LEONARD: |
Yes. |
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2. AVRIL: |
Poor kid. Look, sorry if this sounds harsh, but I thought Joan was OK with it. I thought she was on top of it. |
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3. LEONARD: |
So did I. But this past six months or so she seems to have taken a big step backwards. Oh I think she has come to terms with Emma being dead. I just think she’s desperate to know what happened. Too desperate. |
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SCENE 9 INT DAY
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FADE OUT. FADE IN TO JOAN DAY DREAMING AT WORK. |
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4. JOAN’S THOUGHTS V/O |
What am I going to do Emma… time isn’t healing me. I have to be tougher, I’m not being fair to Leonard. How does mum cope with it? I have to make an effort and be positive. Should I talk to mum about it? If I just knew what happened to you I would be all right, I know I would… |
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FX Top |
AUGUST 1944 SUBURBAN HOUSE SOUTH LONDON. HOME OF EMMA’S PARENTS. JOAN IS 15 YRS OLD. MUM AND DAD ARE LISTENING TO THE 10 PM NEWS REPORT ABOUT THE FLYING BOMBS OR ‘DOODLEBUGS’ WHEN THE DOOR BELL RINGS. |
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5. DAD: |
Who could that be at this time? |
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6. JOAN: |
(SHOUTING FROM UPSTAIRS) Who’s at the door? |
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7. MUM: |
Your father’s just going dear. I’ll turn the wireless off. |
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8. BOY: FX |
(AT FRONT DOOR) Telegram sir. (DAD RETURNS WITH TELEGRAM. JOAN’S FOOTSTEPS COMING DOWNSTAIRS.) |
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1. DAD: |
It’s from Mrs. Johnson (READING) ‘Train derailed south of Crewe 7.43 pm stop Emma didn’t arrive stop. Hope all’s well stop. No reports of injuries stop Elizabeth Johnson’ |
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2. MUM: |
Oh God No! Where is she? |
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3. JOAN: |
Oh. Poor Emma. What’s happened to her? |
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4. DAD: |
I’m sure she’ll be all right. They will have put her up somewhere for the night and they’ll take her on to Mrs Johnson in the morning. We’ll go to the evacuation office at the Town Hall first thing in the morning just to be sure. |
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5. MUM |
(CONVINCING HERSELF) Yes Joan. It’ll be all right. We mustn’t worry. I’m sure they will be looking after Emma. She’ll be fine, now back up to bed with you. |
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SCENE 11 INT MORNING Top |
EVACUATION OFFICE NEXT MORNING |
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6. JOAN: |
Here we are dad. Here’s the queue for the enquiry window. I hope Emma is all right Mum. I didn’t sleep a wink last night. |
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7. MUM: |
She’ll be fine Joan. They’ll just be sorting things out to get her there today. |
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FX |
(FADE OUT AND FADE IN TO DENOTE PASSAGE OF TIME AS QUEUE PROGRESSES) |
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8. OFFICIAL: |
Next please. Now what can we do for you? |
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1. DAD: |
It’s our daughter Emma Hutchings. She was going to Keswick, in the Lake District, on the afternoon train from Euston yesterday. She was supposed to stay with a Mrs. Johnson and her family at Lakeside Farm. We had a telegram last night from Mrs. Johnson saying there was a train derailment and Emma didn’t arrive. We don’t know how serious it was. Do you know where she is? |
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2. OFFICIAL: |
Just one moment sir. Hutchings… Hutchings… let me see now… Ah yes… well you’ll be relieved to know there are no reports of any injuries. There’s no information on the transfers yet. She’s just down here as going to Keswick. |
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3. DAD: |
Are you saying you don’t have any news of her? |
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4. OFFICIAL: |
Well, we know she’s not hurt but apart from that it’s too early to say. We wouldn’t have the reports back yet. Come back in a couple of days. They will probably have sent her on to a temporary evacuation camp. It happens all the time. |
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5. MUM: |
(GETTING UPSET) But you must have some information. Is there anyone else missing? Perhaps she’s with them. |
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6. OFFICIAL: |
I don’t know any more. I am sorry. Will you please call back in a couple of days. |
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1. MUM: |
This is ridiculous. I know there’s a war on, but there must be something you can do. |
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2. JOAN: |
Yes there must be something… why can’t you… |
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3. OFFICIAL: |
(MORE FIRMLY) I’m sorry Madam. As I said, we’ve no record of an Emma Hutchings arriving in Keswick YET. But given the situation it’s early days. Have you spoke to the Keswick Police? All evacuees are supposed to register with the local police at their destination. |
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4. DAD: |
No. I didn’t think there was any point. It happened near Crewe. |
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5. OFFICIAL: |
It’s possible that she has been transferred up there by road or another train. She could be in a transit camp while they’re trying to contact the Johnson family. It’s worth speaking to the Police. |
|
6. DAD: |
I’ll do that now. Can I use your telephone? (THERE IS A COUPLE BEHIND IN THE QUEUE GETTING IMPATIENT) |
|
7. OFFICIAL: |
I’m sorry. It’s not for public use. Besides we don’t hold telephone numbers of all the Police stations here. |
|
8. MAN IN QUEUE: |
Come on mate! You’re not the only one you know! |
|
9. DAD: |
(GETTING IMPATIENT) All right! Hang on will you! (TO THE OFFICIAL) Then where do I get the number? This might be an everyday occurrence for you but I can assure you it isn’t for us. |
|
10. OFFICIAL: |
Look, I’m sorry, we’re doing what we can. If you call in to your local Police station, they will probably make the call for you. I know it’s difficult, but your daughter’s not the only one. She’s probably been re-routed to another Family. It often takes a few days for our records to catch up in these circumstances. We’ll be in touch just as soon as we hear something. If you want to telephone me in a couple of days this is the number. |
|
1. DAD: |
(FROSTILY) Thank you. Is there anything else I should be doing? |
|
2. OFFICIAL: |
Yes. If you haven’t heard anything in a couple of days you will have to officially report her missing. This is the address of the Missing Persons Offices in Whitehall. But I really would leave it for a day or two. They are so busy, they may not even take any action until they are sure that she’s not going to turn up in Keswick, or she’s with another family up there somewhere. |
|
SCENE 12. INT MORNING Top |
FADE OUT AND FADE IN TO A SOUTH LONDON POLICE STATION WHERE DAD, MUM AND JOAN ARE TALKING TO THE DESK SERGEANT. |
|
3. SERGEANT: |
Yes of course Mr Hutchings. I’d be glad to help, just one moment while I find the number. |
|
4. JOAN: |
(TO MUM AND DAD) Oh I hope there’s news of her Mum. I can’t stand this not knowing… |
|
5. MUM: |
Just try and calm down Joan dear…we’re doing what we can… |
|
7. SERGEANT: |
Here we are… Keswick Police Station (HE DIALLS THE NUMBER) |
|
1. DAD: |
Thank you Sergeant. (THE SERGEANT’S OPENING CONVERSATION IS IN THE BACKGROUND AS A CONSTABLE COMES TO THE COUNTER FROM A BACK OFFICE) |
|
2. CONSTABLE: |
I’m just making a brew can I get you folks a cuppa? |
|
3. DAD: |
That’s very kind of you constable but I’m sure you’ve enough to do |
|
FX |
(FADE SERGEANT’S TELEPHONE CALL TO FOREGROUND) |
|
4. SERGEANT: |
Yes that’s it… Hutchings. Emma Hutchings. (PAUSE) Yes I’ll hold thank you. (TO THE FAMILY). He said there have been some registrations from children on the derailed train he’s just checking if…(BACK TO TELEPHONE) Yes I’m here. (PAUSE) Mmmm… I see. Right… thank you…. That would be very helpful… Thank you. Yes… South Croydon. Croydon 4798. Yes that’s correct. Thanks again. (SYMPATHETICALLY) I am very sorry. Emma’s name is not amongst those who have registered. |
|
5. JOAN: |
(CRYING A LITTLE) Oh no… no… please… |
|
6. MUM: |
(RESTRAINED) Shhh now Joan. Calm down dear… |
|
7. SERGEANT: |
(FATHERLY) Now come on young lady calm yourself I haven’t finished yet… |
|
8. DAD: |
Yes Joan, steady now, let the Sergeant finish… |
|
9. JOAN: |
I’m sorry… I’ll try… |
|
1. DAD: |
That’s a good girl… Sergeant…? |
|
2. SERGEANT: |
Just because she hasn’t registered, it doesn’t mean she isn’t there. They are going to check with all local host families. There’s also an evacuation camp near Lake Coniston. They’re going to send a Bobby round there later today and telephone me. I don’t suppose you are on the telephone sir? |
|
3. DAD: |
No of course not. |
|
4. SERGEANT: |
If you want to call in here this evening we may have some news for you. If anything happens in the mean time, I’ll send a Bobby round. Please try your best not to worry. We’ll do all we can. I’m sure she’s safe somewhere. |
|
5. DAD: |
There you are Joan. Everything possible is being done. She’ll be back in touch in no time. |
|
6. MUM: |
Thank you Sergeant. Thank you very much! |
|
7. SERGEANT: |
Not at all Madam. |
|
8. DAD: |
Thanks Sergeant. I’ll call in later this evening. Come along Joan. |
|
FX Top |
FADE OUT AS THE FAMILY LEAVE THE POLICE STATION. FADE IN TRAFFIC.THEY WAIT TO CROSS THE ROAD. |
|
9. DAD: |
That Sergeant was very helpful. |
|
10. MUM: |
Yes he was… be careful Joan… mind… Watch the traffic… (SCREAMS) JOAN!!!! |
|
FX |
JOAN STEPS OFF THE KERB INTO THE PATH OF A TAXI. |
|
1. DAD: |
Oh God. What have you done? Joan are you all right? |
|
2. MUM: |
Are you hurt Love? Oh Joan are you hurting. You silly girl. |
|
3. JOAN: |
No I’m all right honest. It was my own stupid fault. I was in a trance thinking about Emma. It barely touched me. |
|
4. TAXI DRIVER: |
(RUNNING UP) Bloody hell darlin’, did I hit you? I couldn’t do anything… you came out right in front of me… |
|
5. DAD: |
Don’t worry driver, it wasn’t your fault. I think she’s all right. |
|
6. JOAN: |
I’m fine really I am. It was just a bump. |
|
7. TAXI DRIVER: |
I’m sorry love. |
|
8. NURSE: |
I saw everything. Our ambulance was a few yards back behind the Taxi. Come here sweetheart lets have a look at you. |
|
9. MUM: |
Thank you. |
|
10. TAXI DRIVER: |
Look I’ll wait in my cab my love and if the Nurse gives her the all clear I’ll take you home. I’m empty. Where do you live? |
|
11. DAD: |
Well we’re just local… Brampton Avenue Croydon, but you really don’t have to… |
|
12. TAXI DRIVER: |
No I insist. It’s no trouble at all. |
|
1. JOAN: |
I’m sorry mum, sorry dad, will you please believe me, I’m fine. It’s just a bruise that’s all. |
|
2. DAD: |
It would be silly not to let the Nurse have a look Joan. I mean, she’s here, and she’s kind enough to offer. |
|
3. NURSE: |
Come along dearie. Come round the back of the Ambulance let’s have a look at you. Sit on the step here sweetheart. I’ll not take you inside, we have a patient in there asleep at the moment. |
|
4. JOAN: |
Oh please. Look I don’t want to be any… |
|
5. NURSE: |
Now come on. Do as your told. It won’t take a minute. Let me have a look. There now… just a graze. I’ll put a light dressing on it for you and you’ll be as right as rain. Did you bump your head at all? |
|
6. JOAN: |
No… |
|
7. NURSE: |
No dizziness or light headedness |
|
8. JOAN: |
No not at all. I’m fine… really I am |
|
9. NURSE: |
Yes I do believe you are sweetheart. There you are all patched up… off you go… |
|
10. JOAN: |
You’re very kind. Thank you very much. |
|
11. NURSE: |
Not at all dear. |
|
12. JOAN: |
What an unusual doll… |
|
13. NURSE: |
What…? |
|
14. JOAN: |
That Tudor doll on the step here… |
|
15. NURSE: |
I must have dropped it when I dashed out to look at you; it belongs to the patient. It’s unusual isn’t it? |
|
1. JOAN: |
Yes it’s beautiful. |
|
2. NURSE: |
Come on let’s get you back to your Mum and Dad… |
|
SCENE 14 INT DAY Top |
(FAMILY IN TAXI). |
|
3. TAXI DRIVER: |
Brampton Avenue. Right. I know it. We’ll have you there in no time. |
|
(PAUSE) |
|
|
4. MUM: |
(ALMOST TO HERSELF) I can’t believe this. I just can’t believe it. My poor little Emma. We were sending her to safety. |
|
5. JOAN: |
(PAUSE) We’re not going to see her again are we Mum? |
|
6. MUM: |
Don’t talk like that Joan. Of course we’re going to see her again.. |
|
7. DAD: |
(AT THE SAME TIME). Joan, you mustn’t say that. Don’t even think it. |
|
8. JOAN: |
No. You don’t understand. I know it. I can feel it. I’m not being silly… She’s not coming back. |
|
9. MUM: |
Well I refuse to give up hope. You’re not to talk like that! |
|
(PAUSE) |
|
|
10. TAXI DRIVER: |
Won’t be long now. Ten minutes or so… |
|
(PAUSE) |
|
|
11. JOAN: |
Dad… |
|
12. DAD: |
Yes Joan. |
|
13. JOAN: |
That roll of film in the camera… is it finished? |
|
1. DAD: |
I’m not sure. Not without checking. |
|
2. JOAN: |
I want to send it away as soon as possible. Even if it’s not finished. When would we get the pictures back? |
|
3. DAD: |
Two or three weeks I should think. Why? |
|
4. JOAN: |
Can we send it away please dad? I want to see the picture. The one I took of Emma at the station when she was leaving. I want to see if it comes out… |
|
5. DAD: |
Oh Joan… come here sweetheart, let me hold you… |
|
6. MUM: |
(WEEPING SOFTLY). Joan… we mustn’t give up hope darling… we mustn’t give up hope… |
|
7. TAXI DRIVER: |
Here we are… Brampton Avenue, now what number…? |
|
AUGUST 1955 JOAN’S HOME. |
|
|
FX Top |
MUSIC OF THE DAY ON RADIO |
|
8. LEONARD: |
Oh God… what a day… you had a bad day darling? |
|
9. JOAN: |
No not really… no more boring than usual. Invoices and despatch notes… boring… |
|
10. LEONARD: |
Yes I know. Same with me… all figures… What do have there? |
|
11. JOAN: |
An anniversary present from Auntie Phyllis… a new picture frame, I’ve put Emma’s photograph in it. |
|
12. LEONARD: |
Very pretty. (PAUSE) You have to let go Joan. You have to move forward… |
|
13. JOAN: |
I know… |
|
14. LEONARD: |
You know she’s starting to come between us don’t you? |
|
15. JOAN: |
Emma…? Yes… I think she probably is. |
|
1. LEONARD: |
What can I do Joan? I feel so helpless sometimes. |
|
2. JOAN: |
It’s not as though I expect to find her alive now. It’s not that. I’ve come to terms with that. It’s not knowing what happened to her. It eats away at me sometimes. I’d give anything to know what happened to her. I just have this awful picture of her dying alone somewhere. |
|
3. LEONARD: |
I don’t think we’ll ever know will we darling? Perhaps that’s the next thing you have to come to terms with. I mean, your parents couldn’t have tried harder to find out what happened could they? |
|
4. JOAN: |
No… no they couldn’t. They even thought they’d found her once. A couple of days after the derailment, there was a report from a soldier about a girl with a teddy bear with one arm. But it turned out to belong to a girl in Blackpool and the trail fizzled out. I don’t suppose there is anything particularly unique about one armed teddy bears. |
|
5. LEONARD: |
They were terrible times. But we have to carry on, we can’t dwell on them. |
|
6. JOAN: |
I’m trying Leonard. I know I’m too soft. I’ll try harder… but it’s difficult. |
|
7. LEONARD: |
I know darling… I know. |
|
8. JOAN: |
(PAUSE) I came round to your office at lunch time. I thought we could have lunch together… |
|
9. LEONARD: |
Oh er… I went to the pub for a sandwich and a pint. |
|
1. JOAN: |
On your own? |
|
2. LEONARD: |
No… there were a few of us from the office… you know we do it on a Friday sometimes. |
|
3. JOAN: |
It’s Thursday… |
|
4. LEONARD: |
Well Thursday then… it doesn’t matter does it? |
|
5. JOAN: |
No of course not… it’s just that most of them seemed to be there, in the office and no-one knew where you were. I wouldn’t have bothered but there seemed to be a bit of an atmosphere when I asked where you had gone to. |
|
6. LEONARD: |
You’re imagining it. |
|
7. JOAN: |
So who did you go with? |
|
8. LEONARD: |
Just a few of us that’s all. What’s the interrogation for? |
|
9. JOAN: |
Because Avril Richards was probably one of them, she’s very beautiful, an old flame of yours and she makes me well… a little insecure I suppose. |
|
10. LEONARD: |
Oh come on now Joan. You’ve no reason to mistrust me. All those immature insecurities should have gone by now. I think unfounded jealousy is a childish emotion. |
|
11. JOAN: |
(LAUGHING GOOD NATUREDLY) You can sound really pompous sometimes Leonard… I love you. (SHE KISSES HIM) |
|
12. LEONARD: |
Mmmm that was nice… |
|
13. JOAN: |
Let’s talk about something else… something nice What are we going to do next Wednesday? We can’t let our firs year of wedded bliss pass by without celebrations can we. |
|
1. LEONARD: |
Absolutely not! I’ve managed to persuade old skinflint Jenkins to give me the day off. How about a visit to the West End? Dinner and a show and all that. The King and I sounds good doesn’t it? |
|
2. JOAN: |
Yes… but you did mention this morning that I should be thinking about it, so I have been. What do you think of going out for the day somewhere? |
|
3. LEONARD: |
That sounds good. It would be a nice change… a trip on a charabanc! Anywhere in mind? |
|
4. JOAN: |
I haven’t a clue. Let’s go down to Maine’s on Saturday morning and see what they have. |
|
5. LEONARD: |
Good idea… you’re on. |
|
FX Top |
LUNCH TIME CAFÉ BACKGROUND |
|
6. WAITRESS: |
You ready to order love? |
|
7. JOAN: |
I’ll have the ham salad please how about you mum? |
|
8. MUM: |
Yes I’ll have the same. With a large pot of tea please. |
|
9. WAITRESS: |
Fine. I’ll be right back with them ducks. |
|
10. JOAN: |
Thank you. |
|
1. MUM: |
Oh my poor feet. I’ve been tramping round the shops for hours. Oh the heat. We should have picked a cooler day… it’s exhausting. |
|
2. JOAN: |
Shopping is good in any weather…now don’t pretend you don’t like it. |
|
3. MUM: |
Well of course I like it darling. It’s nice of you to spend your lunch break with me. We haven’t done this for ages. We should do it more often I’m glad you suggested it. |
|
4. JOAN: |
(SOLEMNLY) Well… first anniversary… special occasion and all that… |
|
5. MUM: |
You don’t exactly seem overjoyed at the prospect Joan. What’s wrong dear? |
|
6. JOAN: |
Is it that obvious? (THE WAITRESS BRINGS THE FOOD.) |
|
FX |
TEA POT CUPS AND PLATES CHINKING |
|
7. WAITRESS: |
There we are. Ham salads and tea for two. Would you like me to pour or do you want to do it? |
|
8. MUM: |
We’ll see to it thank you. |
|
9. WAITRESS: |
Will there be anything else? |
|
10. MUM: |
No. That’s fine thank you. |
|
11. WAITRESS: |
There’s your ticket dear. Would you pay at the till on your way out please? |
|
12. MUM: |
Yes of course. Thank you very much. (PAUSE) I know there’s something wrong you know. Do you want to talk about it? Is this why you suggested this little jaunt? |
|
1. JOAN: |
I’m probably worried over nothing but…it’s Leonard… he maybe seeing another woman. |
|
2. MUM: |
Oh Joan! No…. |
|
3. JOAN: |
Oh it’s not like that, at least I don’t think it is and I’m not sure how long it’s been going on… or if it’s serious but… well it’s niggling at me… |
|
4. MUM: |
Well the first thing is to be sure of your facts. It might be nothing. How do you know? |
|
5. JOAN: |
Oh I’m pretty sure it’s not developed into an affair or anything. But I went round to his office the other day to have lunch with him and he wasn’t there. They said they didn’t know where he’d gone. |
|
6. MUM: |
And… |
|
7. JOAN: |
They were embarrassed, uncomfortable with the situation… me turning up, as though there was something to hide. |
|
8. MUM: |
Well that’s not enough to go on surely. It could have been something else… |
|
9. JOAN: |
Have you forgotten Avril Richards? |
|
10. MUM: |
Oh yes… I see… I had forgotten. Is she still around? |
|
11. JOAN: |
Very much so. She’s one of the secretaries for his department now. He works with her every day. |
|
1. MUM: |
Is he telling you he’s working late? Does he say he has to go away to another branch or anything? |
|
10. JOAN: |
No nothing like that. He is working late tonight. It may be genuine though; he has to pull some time up for taking next Wednesday off. |
|
11. MUM: |
Then it isn’t serious is it? Perhaps you’re being a little neurotic Joan? |
|
12. JOAN: |
Yes perhaps I am, perhaps it’s because I met him on the rebound from her… but more than that, I’m worried that I may be giving him a reason to turn to her. |
|
13. MUM: |
What do you mean? |
|
14. JOAN: |
I don’t know why, but Emma is on my mind more and more these days. It’s been terrible this last few months and I seem to be pushing him away to make room for her. How do you cope with it mum? You and dad seem so… well… adjusted I suppose… you seem to have accepted everything… got over it even. |
|
15. MUM: |
We have learned to put on an act Joan. None of us will ever get over it dear. A day doesn’t go by without me thinking of her and wondering what happened. But I do believe I have control... just about. It’s almost like she’s in a special compartment in my mind. The worst thing is the guilt. Sometimes I do almost snap. And on a bad day I think I am going to have a breakdown or something. It’s the guilt that’s the worst thing. We sent her out of London probably to her death… |
|
1. JOAN: |
I’m sorry… I didn’t mean to… |
|
2. MUM: |
No… no… we don’t talk about this enough. If we hadn’t sent her away, she would be with us now, approaching her twenty-first birthday, probably here at this very table having lunch with us. How do you think we have coped with all that guilt Joan? (PAUSE.)The only way I have survived, is to keep her in a little box in my head… I can let her out and place her back there and put the lid on when I have to. She’s always there but it is me that is in control Joan, not Emma. And that’s what you have to do. Don’t let Emma control you… |
|
3. JOAN: |
Yes I know… but it’s so difficult… sometimes it just eats away at me. |
|
4. MUM: |
You have to be strong Joan. It’s eleven years now, you should be farther on than this. You’ll have to face up to it yourself. No one else can do it for you. |
|
5. JOAN: |
There is a solution mum… try and find out what happened. |
|
6. MUM: |
(UPSET) Do you think we didn’t try? Don’t you remember? Your father and I did everything possible for weeks on end! We went North, we tramped round all the government departments in London for days. They messed it up! The bureaucrats made a bloody mess of it. From the moment she stepped on to that train, she might as well have vanished into thin air! |
|
7. JOAN: |
I’m sorry mum. I’m making things worse. I know you did everything you could. I just can’t help thinking maybe there was something else. |
|
8. MUM: |
(CALMING DOWN) We did everything possible Joan and it upsets me if you are saying we didn’t try hard enough. |
|
9. JOAN: |
Oh I’m sorry… I wish I had never said anything now… (TEARFUL) I’m driving a wedge between you and me… and I’ll drive Leonard away too… |
|
10. MUM: |
(SYMPATHETICALLY) Now, now Joan… you’ll never drive a wedge between us. I’ve lost one daughter, I’m not going to lose the other. Now come on. Try to cheer up. (WHISPERING) People are beginning to look at us. |
|
11. JOAN: |
Yes. Yes of course. I’m sorry. God I’m such a drip… I must try to make a special effort for our anniversary. |
|
12. MUM: |
That’s more like it. What are you planning to do on Wednesday? |
|
13. JOAN: |
We thought of going out on a day trip somewhere, we’re going to see what Maine’s have tomorrow morning. |
|
SCENE 17 INT. DAY Top |
PUB LUNCHTIME. |
|
1. LEONARD: |
God it’s so hot. Do you want a long drink or your usual? |
|
2. AVRIL: |
Oh definitely a shandy. |
|
3. LEONARD: |
Yes, me too I hope it’s a cool one. |
|
4. BARMAN: |
Yes sir? |
|
5. LEONARD: |
A pint and a half of shandy please. I’m not sure that this is a good idea you know. |
|
6. AVRIL: |
What? |
|
7. BARMAN: |
There we are sir. |
|
8. LEONARD: |
Thank you. Keep the change. |
|
9. BARMAN: |
Thank you sir. |
|
10. LEONARD: |
Well… you know… you and me going for a drink… without the others… they’ll talk... you know how they’ll talk. |
|
11. AVRIL: |
Let them… we’re not doing anything wrong are we? (PAUSE) (MISCHIEVIOUSLY) Well… are we? |
|
12. LEONARD: |
Here’s a table. Joan was quizzing me yesterday… about you. |
|
13. AVRIL: |
Was she now? And what did you say? |
|
14. LEONARD: |
Nothing really. I sort of glossed over it. |
|
15. AVRIL: |
So you do have a guilty conscience then. |
|
16. LEONARD: |
(UNCOMFORTABLE) No of course I haven’t. We haven’t done anything have we? |
|
1. AVRIL: |
Perhaps it’s the potential that’s worrying you. |
|
2. LEONARD: |
Oh Avril. Stop it. Stop being a tease. |
|
3. AVRIL: |
Sorry Len… darling… Just having a little joke. Just pulling your leg. |
|
4. LEONARD: |
Cheers. Ah… oh that’s good. |
|
5. AVRIL: |
Cheers. (PAUSE) So how are you doing with the month end figures for Jenkins. |
|
6. LEONARD: |
Not very well. I’m way behind. In fact I really shouldn’t be taking a lunch hour at all. I’ll have to stay for a couple of hours tonight to catch up, especially with taking next Wednesday off. |
|
7. AVRIL: |
That’s a coincidence. I’m working late tonight as well. |
|
8. LEONARD: |
Since when? |
|
9. AVRIL: |
Since I just learned that you are. |
|
10. LEONARD: |
Avril… you’ll get me shot! (AVRIL IS LAUGHING) |
|
(FADE OUT. FADE IN TO MAINE’S COACH EXCURSIONS NEXT MORNING LEONARD AND JOAN ARE INSIDE THE SHOP.) |
|
|
11. LEONARD: |
There doesn’t seem much left for next Wednesday. |
|
12. ASSISTANT: |
Yes sir. Bookings have gone really well this past week. The weather seems settled in this hot spell and it’s always good for trade. Just those three left I’m afraid for Wednesday. |
|
13. JOAN: |
Let’s have a look... Brighton, Margate and Westerham. |
|
14. LEONARD: |
What’s at Westerham. I think I’ve heard of it. It’s not on the coast is it? |
|
1 ASSISTANT: |
No sir. North Kent. It’s a beautiful historic village sir. Churchill lives there. |
|
2. LEONARD: |
Ah yes… of course… I remember it now. Chartwell Manor. |
|
FX |
THE SHOP DOOR BELL TINKLES |
|
3. ASSISTANT: |
That’s correct sir. It’s historical connections are impressive… Pitt the Younger, General Wolfe of Quebec and the buildings and scenery are outstanding. We just have three seats left on that trip sir. |
|
4. JOAN: |
Well I suppose it’s a choice between a day at the seaside or a cultured day out in the country. |
|
5. GODDARD: |
(A CULTURED AMERICAN IN HIS EARLY SIXTIES HAS ENTERED THE SHOP. HIS VOICE IS HOARSE ) Good morning. You really should go to Westerham… I’m sorry, forgive me for interrupting but I know of someone who has been to Westerham on this very trip and they thoroughly enjoyed it. I am here to book a seat for myself on their recommendation. |
|
6. LEONARD: |
well what do you think Joan? This gentleman is taking a seat so that leaves us with the last two. |
|
7. JOAN: |
Oh yes. I think that would be perfect. It sounds wonderful. It seems to strike a chord somehow. We could take a picnic. |
|
8. LEONARD: |
Very good. We’ll take them. |
|
1. GODDARD: |
I am delighted. |
|
2. ASSISTANT: |
You’ll be seated together. One double seat and one single across the aisle. |
|
3. GODDARD: |
Excellent. I had better introduce myself. Bob Goddard. |
|
4. LEONARD: |
I’m Leonard Wilson and this is my wife Joan. |
|
5. JOAN: |
I am very pleased to meet you Mr Goddard. |
|
6. GODDARD: |
Delighted Mrs Wilson. Please forgive my voice. I have a bad attack of laryngitis. |
|
SCENE 19. INT. EARLY Top |
JOAN AND LEONARD’S BEDROOM EARLY. |
|
FX |
ALARM CLOCK GOES OFF LEONARD SWITCHES IT OFF AND TURNS OVER TO JOAN AS SHE WAKES UP. |
|
7. LEONARD: |
Happy anniversary darling. |
|
8. JOAN: |
You too. (THEY KISS) |
|
9. LEONARD: |
Perhaps we could forget the Westerham trip and stay here for the day. |
|
10. JOAN: |
Certainly not, I’m look forward to it. What’s this? |
|
11. LEONARD: |
Your present… open it. |
|
12. JOAN: |
A necklace, oh it’s beautiful Leonard. Thank you. (SHE KISSES HIM) Let me get yours… here… |
|
13. LEONARD: |
Now what’s this… Oh that’s nice. A Schaefer. That should impress old Jenkins. Thanks. |
|
14. JOAN: |
How did you go on last night? You stayed quite late. |
|
15. LEONARD: |
Oh fine. I’ve caught up. Things are up to date. |
|
1. JOAN: |
So you can enjoy today with a clear conscience? |
|
2. LEONARD: |
Sorry? |
|
3. JOAN: |
Taking the day off today… when you’re so busy at work… will there be a problem? |
|
4. LEONARD: |
Oh no… no of course not… everything’s fine. |
|
5. JOAN: |
Good. Right. I had better go and make the sandwiches. |
|
6. LEONARD: |
Come back to bed Joan… we’ve got loads of time… |
|
7. JOAN: |
I have a lot to do… |
|
8. LEONARD: |
(BACKING OFF – BRAVE FACE) All right then… best get on with the sandwiches. I’ll er.. fill the flask up with cold orange juice. It looks like another scorcher today. |
|
SCENE 20 INT DAY Top FX |
INTERIOR OF COACH. PASSENGERS ARE FANNING THEMSELVES WITH MAGAZINES AND NEWSPAPERS THERE ARE MANY COMMENTS ABOUT HOW HOT IT IS. THE DRIVER HAS JUST FINISHED COUNTING. GODDARD IS TAKING HIS PLACE OPPOSITE JOAN AND LEONARD. NOISY CHEERFUL ATMOSPHERE SOME PEOPLE AT THE FAR END OF THE COACH SING OCCASIONALLY THROUGHOUT THE TRIP. |
|
9. GODDARD: |
Hello, nice to see you both again. |
|
10. JOAN: |
Hello Mr Goddard. |
|
11. LEONARD: |
Good morning Mr Goddard. Your voice is no better? |
|
12. GODDARD: |
No I’m afraid not. It’s pretty bad and damned embarrassing at times. So… Westerham is in Kent. I understand Kent is a beautiful part of your wonderful country. |
|
1. JOAN: |
Yes it is. It’s known as The Garden of England. |
|
2. GODDARD: |
I have never been to the Garden of England before. |
|
3. LEONARD: |
What part of America are you from? |
|
4. GODDARD: |
Worcester Massachusetts. I’m over here on holiday tracing my ancestors. |
|
5. JOAN: |
That’s a coincidence. I was born in Worcester England. |
|
6. GODDARD: |
(CASUALLY) Yes of course. |
|
7. JOAN: |
So why are you going to Westerham? Do you have ancestors there also? |
|
8. GODDARD: |
(SUDDENLY DISTRESSED. ALMOST SOBBING) Oh no… no (HIS VOICE SPLITS AND ALMOST FAILS)…. I do not…(STRUGGLING TO SPEAK) I’m… sorry… I’m just here sight-seeing. |
|
9. JOAN: |
I’m so sorry Mr Goddard, have I said something? |
|
10. GODDARD: |
No, no, no, not at all. It’s this Laryngitis. It catches my throat sometimes and makes my eyes water. (HE BLOWS HIS NOSE A FEW TIMES) Ah… dear me…excuse me… that’s a bit better. |
|
FX |
PASSAGE OF TIME. GODDARD HAS RECOVERED AND CHATTING TO JOAN AND LEONARD. THE MOOD IS PLEASANT BETWEEN THE. |
|
11. GODDARD: |
… and I thought the Tower of London was great. Really great. The Crown Jewels. That place where they reckoned people were beheaded. It was incredible. And those Beefeaters uniforms as well… There was this guy who reminded me of an uncle of mine… Uncle Bill from MilleVille. He was kinda severe. |
|
1. JOAN: |
have you been to England before Mr Goddard? |
|
2. GODDARD: |
No. This is my first time. Sure is different to the States. Do you folks get around to see the sites much? |
|
SCENE 21 INT DAY Top |
PASSAGE OF TIME |
|
FX |
FADE IN. THERE IS A GENERAL HUSTLE AND BUSTLE OF ENTHUSIASM ON THE COACH AS IT ARRIVES AT WESTERHAM |
|
3. JOAN: |
Looks like we’re here. It looks beautiful. |
|
4. GODDARD: |
Sure does. Look at all the kids playing on the green. |
|
5. JOAN: |
And what’s that statue… the figure overlooking the green with his sword drawn… |
|
6. LEONARD: |
That will be General Wolfe of Quebec. Oh good we’re stopping now. |
|
7. JOAN: |
What a beautiful little market square. |
|
8. GODDARD: |
Look at the drinking fountain with the cute old-fashioned lamps on the top… |
|
9. JOAN: |
This place has an atmosphere about it… I can feel something quite special here… |
|
10. GODDARD: |
Yes… of course… you will do… |
|
11. JOAN: |
I’m sorry…? |
|
12. LEONARD: |
Hold on… the Driver’s trying to make an announcement or something… |
|
1. DRIVER: |
(COCKNEY ACCENT) Quiet please! Quiet Can I have your attention everybody! Right… thank you… everyone back here at 3.50! There’s trips to Chartwell Manor, Churchill’s house, from the bus stop on The Green. If you go, do me a favour and tell them Den the Driver sent yer. I’ll get a nice little drink out of it then. (SOME PASSENGERS LAUGH AT THIS). The last trip for Chartwell that will get you back here in time for us to leave is the 1.15. If you don’t want to do that. Dunsdale Woods is about 500 yards up the main road this way on the right. It’s really nice up there and there are some lovely spots in the woods. But behave yourselves… (LAUGHING) No hanky panky in the woods! I shall be creeping through the undergrowth wiv me box brahnie! (RAUCOUS REACTION FROM ONE OR TWO PASSENGERS) Don’t forget! Everyone back here at ten to four. I leave on the dot of four, wiv yer or wivaht yer! FADE OUT WITH DRIVER COUNTING THE PASSENGERS OFF THE COACH. |
|
FADE IN TO OUTSIDE SOUNDS, BIRDSONG, A BEE BUZZING ETC. JOAN AND LEONARD ARE STROLLING ALONG WITH GODDARD. |
|
|
2. LEONARD: |
Is it what you expected? |
|
3. JOAN: |
What? |
|
4. LEONARD: |
This place… Westerham. |
|
5. JOAN: |
Oh yes… it’s beautiful. Such an atmosphere. It’s strange, I’ve never felt it anywhere before, I can’t explain it, can you feel anything? |
|
6. LEONARD: |
I’m not sure what you mean… it’s beautiful yes, peaceful even but… |
|
7. GODDARD: |
Resolution. It has an air of resolution about it. |
|
8. JOAN: |
(SURPRISED) Yes that’s it. Precisely that. That’s just what I was searching for. I couldn’t find the word… Resolution. |
|
9. LEONARD: |
Oh Look. There’s a Village map, here in the Post office window. Let’s see now. We’re walking towards The Green… |
|
10. JOAN: |
…and General Wolfe… |
|
11. LEONARD: |
…and dear old General Wolfe. Dunsdale Woods are back that way, the way we’ve come. |
|
12. JOAN: |
And what are your plans for the day Mr Goddard? Are you going to Chartwell Manor? |
|
13. GODDARD: |
(VAGUE) I don’t really know. |
|
14. LEONARD: |
(WHISPERING TO JOAN) Is he OK? |
|
15. JOAN: |
We have plenty of food Mr Goddard. Would you like to join us for a picnic? We could eat on The Green. |
|
16. GODDARD: |
Oh no! Dunsdale Woods would be much better. You must go there (VERY DETERMINED) You have to… you can’t miss that. |
|
FX |
FADE IN CHILDREN PLAYING |
|
1. LEONARD: |
(WHISPERING) What’s the matter with him? |
|
2. JOAN: |
(WHISPERING) Shhhh… he’ll here you! Oh… look at the children on. The Green playing…oh look at their dresses… |
|
3. LEONARD: |
What do you mean? |
|
4. JOAN: |
Those little cotton print dresses. They remind me of the one Emma was wearing in her last photograph. |
|
5. LEONARD: |
(FAR OFF. JOAN DOESN’T HEAR HIM) Are you all right Joan? |
|
SCENE 23 FX Top |
JOAN’S MIND IS TRANSPORTED BACK TO THE WAR WHEN SHE SEES AND HEARS A DOODLEBUG FLYING OVERHEAD. |
|
6. MALE VOICE 1 |
It’s all right. The motor’s still buzzing. |
|
7. MALE VOICE 2 |
Yes you’re right. It’s passing over. |
|
8. MALE VOICE 1 |
Thank god for that. |
|
9. MALE VOICE 2 |
Thank god some other poor bugger is going to get it eh and not us? |
|
FX |
THE MOTOR CUTS OUT IN THE DISTANCE. PAUSE. AN EXPLOSION. PAUSE. BUZZING STARTS AGAIN. |
|
10. MALE VOICE 1 |
Look out. Here’s another one. |
|
11. MALE VOICE 2 |
Fingers crossed eh? |
|
FX |
THE BUZZING CONTINUES AND SLOWLY CHANGES INTO THE BUZZING OF A BEE AS LEONARD’S VOICE GRADUALLY GETS THROUGH TO JOAN. |
|
SCENE 24 EXT DAY Top |
|
|
1. LEONARD: |
Joan. Joan. Are you all right Joan. Joan, what’s wrong, answer me! |
|
2. JOAN: |
What… oh… sorry Leonard. Yes I’m fine. |
|
3. LEONARD: |
Are you sure? You’re trembling. |
|
4. JOAN: |
Yes. Promise. Just someone walking over my grave. (SHE GIVES HIM A QUICK PECK ON THE CHEEK) Let’s go for that picnic shall we? |
|
5. LEONARD: |
(WHISPERS) What about Mr Goddard? He’s just stood there watching the children. He looks very distressed again. |
|
6. JOAN: |
(WHISPERS) Well we can’t ignore him can we? |
|
7. LEONARD: |
Not now you’ve invited him to a picnic with us we can’t! I was hoping we could be alone. |
|
8. JOAN: |
Oh don’t be ridiculous. Behave. The poor man has something on his mind. |
|
9. LEONARD: |
(MUTTERING TO HIMSELF) He’s not the only bloody one. |
|
10. JOAN: |
Mr Goddard, we were thinking of walking up to the woods now to have our lunch. Would you care to join us? |
|
11. GODDARD: |
(BLOWING HIS NOSE AND WIPING HIS EYES). Goddam this laryngitis. I’m sorry. Please forgive my language. Perhaps I will join you later. I don’t require food. I have had one of your large English breakfasts. |
|
1. LEONARD: |
(BRIGHTENING) Oh. Very well. Where would you like to meet us |
|
2. GODDARD: |
You’ll see a track that leads into the woods from the main road about 500 yards up on the right hand side. It’s about 200 yards after a row of white cottages. Walk along it for about 100 yards and you’ll come to a clearing. (PAUSE) I er.. saw it on the map in the Post Office window. If I do come, I’ll join you there. If not I’ll probably see you back on the coach. |
|
SCENE 25 EXT DAY Top |
JOAN AND LEONARD WALKING UP THE ROAD TOWARDS THE WOODS |
|
3. JOAN: |
I wonder what’s wrong with him? |
|
4. LEONARD: |
Haven’t a clue. He’s got me beat. He’s strange. Did you notice how precise his directions to the clearing in the woods were? |
|
5. JOAN: |
What’s wrong with that? He said he got them off the map in the Post Office window. |
|
6. LEONARD: |
Well he didn’t. The woods weren’t shown on that map. |
|
7. JOAN: |
Are you sure? |
|
8. LEONARD: |
Yes. The map was of the village centre only. |
|
9. JOAN: |
So what does that mean? |
|
10. LEONARD: |
I’m not sure. Perhaps he has been here before. |
|
1. JOAN: |
And that voice. What about that voice? |
|
FX Top |
FADE IN WITH LEONARD AND JOAN ENTERING THE WOODS. THE BIRDS ARE SINGING. THE ATMOSPHERE IS CALM AND PEACEFUL THEIR FOOTSTEPS RUSTLE .. |
|
2. JOAN: |
Isn’t this beautiful. Look at the shafts of sunlight coming through the trees. |
|
3. LEONARD: |
Yes. Look, we’re coming to a bend in the path. I bet the clearing is round there. |
|
4. JOAN: |
Leonard… look up ahead… it can’t be! |
|
5. LEONARD: |
How the hell… |
|
6. JOAN: |
Oh I can’t believe this… |
|
7. LEONARD: |
There must be another track in here… |
|
8. JOAN: |
There can’t be a shorter way. He didn’t pass us on the road. |
|
9. LEONARD: |
(PULLING JOAN DOWN INTO THE UNDERGROWTH) Shhhh! Quiet! Let’s see what he’s up to. |
|
10. JOAN: |
What is the place Leonard? There’s a strange atmosphere here. Can’t you feel it? |
|
11. LEONARD: |
Shut up! Look at him… what’s he doing? |
|
12. JOAN: FX |
There are some half buried beams of wood in the ground. He seems to be examining them. Leonard, this place… it’s upsetting me. My stomach is churning. The birds have stopped singing. It’s going dark. I’m getting tingles up and down my back Leonard Can’t you feel the tension? |
|
1. LEONARD: |
No. Shhh! (WHISPERING) I don’t know what you mean. It’s not gone dark. What’s wrong with you? Look at Goddard. What’s he doing? |
|
FX |
SUDDENLY JOAN EXPERIENCES AN EXPLOSION AND SEARING FIRE. SHE HEARS DISTANT VOICES OF CHILDREN SCREAMING IN PAIN AND TERROR. |
|
2. JOAN: |
Leonard! (SCREAMING) Get me out of here! I’m burning. Leonard I’m on fire! |
|
3. LEONARD: |
My God Joan! What’s the matter? Come on! |
|
4. JOAN: |
(STILL SCREAMING) Leonard get me out. I’m freezing now I’m freezing. Why is it so dark! I can’t cope with this Leonard. What’s happening? |
|
5. LEONARD: FX |
What do you mean? It’s not dark! Come on Joan. Run with me, your shaking, your as white as a sheet, hang on to me, we’ll run back to the road, hold on to me Joan, hold on you’ll be fine. Run… run… |
|
FX |
AS THEY RUN BACK TO THE ROAD IN BLIND PANIC THE BIRDSONG RETURNS. |
|
6. JOAN: |
(BREATHLESSLY) Thank God… The sunlight’s coming back. You said it wasn’t dark, I thought I was going blind. |
|
1. LEONARD: |
Don’t talk, get your breath back. You need a stiff drink, no… we both do. We’ll go to the Quebec Arms down the road. Just try and calm down and relax. Get your breath back we’ll talk about it over a drink. |
|
SCENE 27 INT DAY Top |
QUEBEC ARMS BUSY TOURIST PUB |
|
FX |
|
|
2. LEONARD: |
Here, get this down you. You’ll feel much better after a couple of these. |
|
3. JOAN: |
Heavens! I need this Leonard (TAKES A GULP) I’ve never experienced anything like that in my life before. My heart is still pounding. |
|
4. LEONARD: |
It’s beyond me. What was it all about? |
|
5. JOAN: |
I’m not sure. I don’t know. The atmosphere… it was terrifying, couldn’t you feel it? |
|
6. LEONARD: |
No… I’m sorry… nothing. I couldn’t feel anything. |
|
7. JOAN: |
But you must have done. You must have seen it, it was awful. |
|
8. LEONARD: |
(DELIBERATELY) Joan, I promise you I saw nothing. All I could see was you getting more and more upset. Then you started screaming. |
|
9. JOAN: |
But the explosion. How could you miss that explosion? You must have seen it, there was fire and children screaming everywhere. |
|
10. LEONARD: |
Look, perhaps we should see if we can get a train, an earlier coach or a taxi even, we should go home. Perhaps we should go and see if Doctor Parker’s available. You would feel better if… |
|
1. JOAN: |
I am not going mad Leonard! |
|
2. LEONARD: |
I’m not suggesting you are… it just might be better if… |
|
3. JOAN: |
I know what I saw! |
|
4. LEONARD: |
I believe you. It’s just that… |
|
8. JOAN: |
Then act like it! |
|
9. LEONARD: |
Look… would you like me to go and ask the Landlord if he’s got a room upstairs? You could go and rest. |
|
10. JOAN: |
(SHOUTING) NO. I DON’T BLOODY WANT TO GO UPSTAIRS LEONARD! |
|
FX |
THE GENERAL HUBUB OF BACKGROUND NOISE FADES DOWN |
|
11. LEONARD: |
Joan! Please! People are looking at us! |
|
12. JOAN: |
(QUIETER) So what! |
|
13. LEONARD: |
I’m sorry… I can see that you were… are… upset, but I didn’t see anything. Just Goddard in the middle of that clearing. How the hell he got there is beyond me. |
|
14. JOAN: |
Yes. Well. There’s a lot more to it than that. |
|
15. LEONARD: |
I can see that. Now why don’t you calm down and tell me about it? Tell me what you saw. |
|
16. JOAN: |
If I do are you going to listen to me or send for the men from the funny farm? |
|
17. LEONARD: |
I’m sorry Joan. If I gave you that impression, I didn’t mean to. I apologise. Will that do? |
|
1. JOAN: |
I suppose so. |
|
2. LEONARD: |
Right come on now. Tell me about it, I’m listening. |
|
3. JOAN: |
Well just as Mr Goddard was walking round the clearing looking at those beams of wood, there was a huge bang and the clearing erupted into a fireball. I could hear children shrieking. God Leonard, I’ve never seen anything so frightening. I could see and hear it as real as I can see you now. I even felt the heat. There were children running around on fire screaming in agony. I can play it back in my head like a film at the cinema. It’s horrifying. (SHE STARTS TO SOB QUIETLY) So real, even now. Oh God Leonard, maybe I’m going mad, maybe I’m hallucinating. (GULPS HER DRINK DOWN AGAIN) |
|
4. LEONARD: |
(COMFORTING) No, no Joan. That was real enough. I just wasn’t tuned in to it somehow. Well perhaps something weird has happened in that clearing in the past and you tapped into it somehow, but more than that, it’s something to do with Goddard. I know it’s difficult but just try and put it out of your mind for now, try and recover, let me get you another drink. Just do your best to relax. All right? |
|
5. JOAN: |
Yes. Yes I will have another one. Thank you Leonard. Thank you for your patience. I’ll try and pull myself together. LEONARD GOES TO THE BAR. JOAN LOOKS IN HER HANDBAG FOR MAKEUP AND A MIRROR. Now where’s my makeup. God look at the state of me. This will take a major repair. Now where’s my lipstick. (SHE GASPS AND DROPS THE MIRROR)…. Goddard!. |
|
1. BARMAN: |
Is this one dead love? |
|
2. JOAN: |
What? |
|
3. BARMAN: |
This pint pot. It has a drop in the bottom. Is it finished? |
|
4. JOAN: |
Oh er… yes I think so. |
|
5. BARMAN: |
Okie Dokie. LEONARD RETURNS WITH FRESH DRINKS. |
|
LEONARD: |
Here… got you a large one this time… |
|
6. JOAN: |
Leonard. Goddard was just here. |
|
7. LEONARD: |
Are you certain? Where? |
|
8. JOAN: |
Absolutely. I saw him in my make up mirror. He was sat over there behind me, staring straight at me. |
|
9. LEONARD: |
Where did he go? |
|
10. JOAN: |
I don’t know. I was distracted by a barman, I looked round and he’d vanished. |
|
11. LEONARD: |
How long ago? |
|
12. JOAN: |
Just now… a few seconds ago… |
|
13. LEONARD: |
Right! Let’s see if we can get to the bottom of this. You stay here! I’m going for a quick look round |
|
14. JOAN: |
Leonard! Be careful. |
|
FX |
BACKGROUND CHANGES AS LEONARD WALKS THROUGH DIFFERENT BARS LOOKING FOR GODDARD. |
|
1. LEONARD: AS V/O |
Right Mr bloody Goddard… where are you… nope, Mmmm… no luck in here…. Ah! there – no… too many bald men in there… now how about in here… he’s disappeared again… |
|
2. LEONARD: |
Well that’s the full circle... |
|
3. JOAN: |
Any luck? |
|
4. LEONARD: |
No. I’ve looked in every bar in the pub, even the gents. Nothing. He’s disappeared again. |
|
5. JOAN: |
What do we do now? |
|
6. LEONARD: |
God knows. I don’t know what to make of it. I wonder if we should go back up to the woods and see if anything happens? |
|
7. JOAN: |
Oh no! Absolutely not! You’re not getting me back there under any circumstances. |
|
8. LEONARD: |
All right. Mmmm. I’m lost. (PAUSE) Well I don’t fancy staying here. Anyway, they’ll be closing soon. It’s glorious sunshine out there. Perhaps we would bump into him if we went a walk round the village. I take it you do want to try and find an answer to all this? |
|
9. JOAN: |
Yes I do. You’re right. Let’s get out and about. We’re supposed to be enjoying ourselves. We’ll have a look round the village. |
|
10. LEONARD: |
Would you like to go and see Chartwell Manor? |
|
1. JOAN: |
I don’t think we’ll have time for that do you? |
|
SCENE 28 EXT DAY Top |
|
|
FX |
FADE IN TO BUSY MARKET SQUARE. |
|
2. LEONARD: |
This heat’s getting too much. Let’s sit down here by the drinking fountain. I’m parched. |
|
3. JOAN: |
You know, with all the excitement I completely forgot I had packed the camera. It’s in your knapsack… let me take a snap of you by the fountain. It’ll be a nice picture. |
|
4. LEONARD: |
There you are. Shall I just sit here on the edge? |
|
5. JOAN: |
Yes. That’s nice… (SHARPLY AND QUIETLY) Leonard!!!! |
|
6. LEONARD: |
What? What’s wrong? |
|
7. JOAN: |
Quiet! It’s Goddard. I’m sure it’s him over in that group of people behind you and to the left. He’s got his back to us, about twenty or thirty yards away. |
|
8. LEONARD: |
I think your right… that bald head is quite distinctive, hang on… |
|
9. JOAN: |
Be careful Leonard… |
|
FX |
(LEONARD’S RUNNING FOOTSTEPS AS HE TRIES TO RUN TO GODDARD THROUGH THE BUSY CROWDS) |
|
10. LEONARD: |
Excuse me… damn, I’m sorry, let me through look… please… sorry madam excuse me, let me pass…. Now. Mr Goddard….! Mr Goddard… don’t go Oh… I’m sorry. I do apologise, I thought you were someone else. |
|
1. STRANGER: |
‘s all right mate! |
|
FX Top |
ANOTHER PART OF THE VILLAGE DIFFERENT BACKGROUND |
|
2. JOAN: |
Oh look at this poster Leonard, there’s an exhibition at the Library. |
|
3. LEONARD: |
‘Churchill and Westerham.’ Let’s see… how much time have we got? Yes should be OK. Let’s get in out of the heat shall we? |
|
SCENE 30 INT DAY Top |
LIBRARY INTERIOR |
|
4. LEONARD: |
(WHISPERING) It’s not very big is it? |
|
5. JOAN: |
(WHISPERING) No. Mind you. I think if you’ve seen one photograph of Churchill you’ve seen them all. |
|
6. LEONARD: |
(WHIPSPERING) Yes. I suppose so. Not very inspiring is it? |
|
7. JOAN: |
(WHISPERING) Lets sneak out and get an ice cream, we can stroll back to the coach slowly. |
|
8. LEONARD: |
Good idea |
|
9. JOAN: |
Hang on a second… what’s that through there? |
|
10. LEONARD: |
‘Westerham Local History Society.’ |
|
11. JOAN: |
Might as well have a look on our way through… |
|
12. LEONARD: |
If you insist…. |
|
13. JOAN: |
Leonard… look! It’s a newspaper clipping and poster exhibition. |
|
1. LEONARD: |
Oh Bloody Hell… (READING) ‘The Westerham Doodlebug.’ |
|
2. JOAN: |
Look at these articles and photographs Leonard…Leonard… this headline… God in heaven! (READING) “22 Children and 5 Adults Killed in Dunsdale Woods” JOAN DRAWS HER BREATH IN SHARPLY IN A GASP LEONARD READS THE ARTICLE OUT LOUD |
|
3. LEONARD: |
“A Doodlebug bound for London fell short yesterday evening and landed on a refugee camp in Dunsdale Woods, Westerham, killing 22 children and 5 adults. The names of the dead and injured will not be published until the next of kin have been notified. This takes the Doodlebug death-toll to over 3,000 across London and the Southern Counties. What Adolf Hitler doesn’t understand is the British people will not be demoralised. We will stand firm and resolute until the Nazis have been crushed and sent to oblivion.” |
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4. JOAN: |
(SHOCKED) I can’t believe this Leonard. |
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5. LEONARD: |
Look, here’s another one, a couple of weeks later… “A Memorial Service for the Westerham Dead. A Memorial Service will be held at St Mary the Virgin Sunday 10th September 1944 to commemorate the lives of the 22 children and 5 adults who were killed by a Doodlebug that landed on their refugee camp in Dunsdale Woods over a week ago. The machine was obviously destined for London but due to a malfunction it fell short. This is one of the many tragedies brought about by these deadly flying bombs. It is particularly poignant because these children were in transit, waiting to be re-directed to safer parts of England. The names of the dead are shown below: Harold Anderson aged 9, Ronald Andrews aged 10, Alice Brookes aged 9, Andrew Davies aged 7, Marjorie Edwards aged 10, William Harrison aged 9, Jean Horseforth aged 10, Emma Hutchins aged 10………….” |
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1. JOAN: |
(ALMOST SCREAMING OUT) Leonard! It’s Emma! It’s Emma. |
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2. LEONARD: |
My God… but it can’t be! It can’t be! How do you…? It’s not possible. I mean we can’t be sure… |
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3. JOAN: |
Of course we can Leonard. (TEARFUL) I’m sure. I know this is right. I can feel it. This is why we’ve come here today. This is why Goddard brought us here and sent us to that clearing. I have to have copies of all this Leonard. Oh Emma! My poor Emma! What was she doing here? She was supposed to go North. |
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4. LEONARD: |
She must have got lost in the transfers after the train derailed or something. Who knows? Wartime confusion. Records destroyed in the blitz. |
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5. JOAN: |
I can’t take this Leonard. I feel light-headed. |
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1. LEONARD: |
Look come and sit down and try and calm down. We’re all right for time. We’ve got twenty minutes or so yet. Let me see if I can get you a drink. Wait there. |
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2. LEONARD: |
I’m sorry to trouble you. My wife isn’t well, could I possible have a glass of water please? |
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3. LIBRARIAN: |
Yes of course. Sylvia, would you get this gentleman a glass of water please? |
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4. LEONARD: |
Thank you. Bye the way, we are very interested in the Doodlebug exhibition. Is there any way I can get copies of everything? |
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5. LIBRARIAN: |
Yes of course. We can’t do it now though. It will take a while to set the Gestetner up. It’s not been used for a few days. Do you want to come back later? |
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6. LEONARD: |
We can’t, we have to go soon… so what’s the best thing to do? |
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7. LIBRARIAN: |
You can contact the Newspapers direct. I am sure they would be happy to send you copies or back issues or something. I can get the addresses for you if that would help. |
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8. LEONARD: |
You are very kind. Thank you. |
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9. LIBRARIAN: |
Ah… here’s your glass of water. I’ll bring the addresses over to you in a moment. |
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10. LEONARD: |
I am very grateful. Here you are Joan. I wish it was something stronger but the pubs will be closed now. |
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1. JOAN: |
I’m not sure I can take all this in Leonard. |
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2. LEONARD: |
Well it’s hardly surprising. It’s been a hell of a day and I can’t wait to talk to Goddard on the coach. Now come on drink up. We’ll have to be getting back soon. |
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3 JOAN: |
Well at least I know what happened to her. |
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4. LEONARD: |
I’ve asked the Librarian for the Newpaper’s addresses so we can get copies of the articles. |
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5. JOAN: |
Thank you Leonard. Thanks for trying to understand all this. |
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6. LIBRARIAN: |
Here we are sir, is that what you need? |
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7. LEONARD: |
Yes thanks. Thanks for your help. |
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SCENE 31 EXT DAY Top |
COACH EXTERIOR AS DRIVER IS HELPING PEOPLE ON TO THE STEP. |
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8. DRIVER: |
Had a good day love? Come on darlin’ on you get. Can’t hang about you know. |
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SCENE 32 INT DAY Top FX |
COACH INTERIOR. PEOPLE ARE SETTLING NOISILY COMPARING NOTES. CHEERY BOISTEROUS ATMOSPHERE |
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9. DRIVER: |
Forty-nine, fifty, fifty-one, fifty-two. That’ll do me…we’re off. |
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10. JOAN: |
(SHOUTING) Excuse me driver… excuse me!! |
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11. DRIVER: |
Yes darlin’ |
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12. JOAN: |
This seat here… there’s someone missing. |
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13. DRIVER: |
Nope. All accounted for. Counted ‘em twice and it checks with the list. |
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1. LEONARD: |
But there was a man in this seat. A bald man with a black moustache. |
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2. 1st Passenger: |
No there wasn’t. That seat was empty. |
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3. 2nd Passenger |
She’s right dear! |
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4. JOAN: |
But we were talking to him. You must have seen us. |
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5. WOMAN BEHIND: |
Sorry love. The others are right. That seat was definitely empty and I never saw you talking to no-one. |
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6. JOAN: |
(QUIETLY TO LEONARD) I’m stunned Leonard… I don’t know what to think… |
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7. DRIVER: |
(MUTTERING) Too much bloody sun if you ask me… (SHOUTING) Might be an idea to open your windows everyone… it’s still bloody cooking in here… |
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FX |
COACH STARTS AND MOVES OFF SOME PASSENGERS SINGIN ROLL OUT THE BARRELL, TEN GREEN BOTTLES ETC |
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8. LEONARD: |
I can’t think straight… |
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9. JOAN: |
Me too… and this heat doesn’t help. |
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10. LEONARD: |
Look, there’s a newspaper in the seat pocket in front of you. Use it to fan yourself. |
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11. JOAN: |
Yes… good idea… |
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FX |
RYTHMIC SOUND OF JOAN WAFTING THE NEWSPAPER. |
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12. LEONARD: |
(SHARPLY BUT QUIETLY) Joan!! |
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13. JOAN: |
What… |
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14. LEONARD: |
The newspaper… look at the newspaper… |
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15. JOAN: |
What do you mean…? |
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1. LEONARD: |
That photograph… look at it… |
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2. JOAN: |
(INCREDULOUS) Leonard… It’s Goddard! |
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3. LEONARD: |
Let me have a look… yes it is. I’m sure it is. Look at it… it’s like it was taken today. The same jacket even. Are you all right? You look a bit shaky. |
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4. JOAN: |
Shaky? I’m worse than that. My mind is racing. |
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5. LEONARD: |
I feel like I’m going mad… |
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6. JOAN: |
What does it say? Underneath the photograph… |
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7. LEONARD: |
You’re not going to believe this Joan… READS THE CAPTION QUIETLY TO JOAN “Robert Hutchings Goddard…” |
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8. JOAN: |
Hutchings? His middle name was Hutchings… |
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9. LEONARD: |
“Robert Hutchings Goddard, the American inventor of liquid Rocket fuel, died of cancer of the throat, ten years ago today. Werner von Braun, inventor of the Doodlebug, used Goddard’s creation to fuel the deadly missiles that rained death on London’s streets throughout the summer of 1944.” |
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FADE OUT WITH PASSENGERS SINGING TO END |
