FORBIDDEN AREAS
MAURICE ROWDON


CHARACTERS
FRED POWELL
JACK
MABEL
GEORGE
CLIFF
LIL
DOREEN
MR WILLOUGHBY
MRS WILLOUGHBY
MR MANSFIELD
THREE CHILDREN, NEIGHBOURS ET,


FORBIDDEN AREAS
The opening dialogues of this piece may appear
confusing unless it is understood that in their
conversations with each other the village inhabitants
are constantly avoiding reference to certain subjects
which intimately concern their own lives.
Their
chat about farming techniques, jobs and home-life
is a device, as it were, to fill up the silence
and make accidental references to certain FORBIDDEN
AREAS unlikely.
Thus the very chumminess of their.
conversation is a source of tension, distrust and,
in the end, hatred.


OPEN COUNTRYSIDE ON A FINE DAY IN
MIDSUMMER. PAN LEFT OVER COUNTRY-
SIDE AND DOWN TO ROADWAY WHICH
STRETCHES LIKE A STRAIGHT CABLE
BETWEEN FIELDS AS FAR AS WE CAN SEE.
IN THE DISTANCE A BLACK CAR APPEARS,
QUITE ISOLATED IN THE PLAIN. THE
PACE IS LEISURELY, DENOTING UNDYNAMIC
COUNTRY HABITS. WAIT FOR IT TO DRAW
TO A HALT JUST BELOW: THE DRIVER IS
IN SHIRT SLEEVES, A STRAW HAT PUSHED
FORWARD OVER HIS EYES. IT IS A TAXI
-OF THE COUNTRY TYPE. HE SWITCHES
THE ENGINE OFF AND THE FULL SILENCE
OF THE COUNTRYSIDE EST TABLISHES ITSELF.
UNDYNAMICALLY, THE PASSENGER, FRED
POWELL, GETS OUT OF THE TAXI, STANDS
FOR A MOMENT LOOKING ROUND WHILE HIS
HAND SEARCHES HIS POCKETS FOR MONEY.
HE LOOKS TOWARDS THE CAMERA'S RIGHT
AND FIXES THERE, GAZING UPYARDS,
QUITE STILL.
PAN RIGHT ALONG THE ROADIAY AND THERE
NOT MANY YARDS FURTHER DOVN IS A TALL
WOODEN ARCH SPANNING THE ROAD, PAINTED
WHITE AND BEARING THE WORDS IN BLACK
PROMINENCE, 'MILITARY ZONE"., NO
SEN TRY. NOTHING TO LEFT OR RIGHT OF
THE SIMPLE ARCH BUT COUNTRYSIDE. AND
THE ROAD CONTINUES LIKE A STRAIGHT
CABLE ON THE OTHER SIDE AS FAR AS WE
CAN SEE.
CUT BACK TO FRED AND THE TAXI. HE IS
TAKING A SUITCASE AND FISHING TACKLE
OUT. THEN AFTER A NOD TO THE DRIVER
HE, BEGINS WALKING IN THE DIRECTION OF
THE ARCHWAY. AS HE DOES so THE TAXI
BEGINS A SLOW AND LABORIOUS REVERSE
IN THE NARROW ROAD TO GO BACK THE WAY
IT CAME.
PAN WITH FRED APPROACHING THE. ARCH.


CUT BACK TO TAXI WHICH IS HALF TURNED
IN THE ROUND. THE DRIVER IS WATCHING
FRED POWELE THROUGH THOUGHTFUL EYES;
HE IS PALE, SWEATING, HIS ARM LEANING
ON THE WINDOW LEDGE.
CUT BACK TO FRED POWELL WALKING. HE
IS JUST PASSING UNDER THE ARCH. WE
HEAR THE TAXI GRINDING BEHIND HIM AND
THEN IT LEAVES. FRED WALKS ON, TOWARDS
OPEN COUNTRY, PAST THE ARCH NOW. THE
TAXI ENGINE DIES AWAY.
NOW THE TITLES ROLL UP. WHEN THEY ARE
FINISHED HE IS IN THE DISTAICE AND WE
SEE HIM TAKING OFF HIS JACKET AND THROW-
ING IT OVER HIS SHOULDER, A BIT ENTANG-
LED WITH SUITCASE AND FISHING TACKLE.
LS OF THE ROAD SHOWS IT DESERTED FROM
END TO END, EXCEPT FOR FRED.
THE PROGRESS OF HIS WALK IS SEEN IN A
SERIES OF SHOTS. THE COUNTRYSIDE
BECOMES LUSCIOUS, WITH TREES, SMALL
LAKES, WOODED DIPS. HE IS HOTTER
WITH ÉACH SHOT.
CUT TO HIM ARRIVING AT A MILESTONE.
HE BENDS DOWN AND PEERS AT IT. THE
WORDS HAVE BEEN SCRUBBED OUT. HE
PASSES HIS HAND OVER ITS FACE, PEERS
AT IT AGAIN. THEN HE GETS UP AND
CONTINUES WAIKING.
CUT TO LS OF A FARMHOUSE. THEN FRED
IN THE DISTANCE COMING TOWARDS IT.
CUT TO HIM ARRIVING IN THE YARD. THE
- FRONT DOOR IS OPEN. HE LOOKS UP AT
THE WINDOWS, PEERS IN AT THE DOOR.
KNOCKS TENTAIVELY. NO ANSWER.
FRED: Jack!
CUT TO JACK ON THE OTHER SIDE OF THE
YARD, WATCHING FRED FROM BEHIND. HE
IS IN FARMER'S GAITERS WITH HIS SHIRT
SLEEVES ROLLED UP.
CUT BACK TO FRED AT THE DOORWAY.
FRED: Jack!
JACK WALKS FORWARD. AND THEN FRED
TURNS.
JACK (SOLIDLY)
Well if it isn't Fred
Powell. How are you Fred?
FRED: How's yourself?


THEY SHAKE HANDS.
JACK: Did you walk then?
FRED: Yes, I had to. The taxi
wouldn't bring me, not past the----
JACK: Well come in and make yourself
at home. You'd like a oup of tea I
expect.
FRED : I wouldn't mind.
JACK: Fancy dropping out of the sky
like that---Fred Powell---let me have
a look at you!
HE STOPS AND STUDIES FRED WITH A FIRM
SMILE.
JACK: What is it, five---six years?
FRED: Near on.
(LOOKING ROUND)
You've got a big establishment here
JACK: Not a bad old place is it?
THEY ADMIRE IT MUTUALLY. A SHOT OF
THE EFFICIENT OUTBUILDINGS.
JACK: I reckon it's Worth treble What
I gave for it.
FRED: Well you was always a Worker
Jack.
JACK: If I sleep past the clock of
a marning I'm miserable all day---feel
THEY WALK INTO THE HOUSE.
JACK: Mabeli
CUT TO THE NEAT, SPACIOUS LIVING ROOM
WITH A LOUD TICKING CLOCK AND SOLID
SUITE. JACK AND FRED ARE JUST COMING
IN. THE CURVED WINDOWS COMMAND THE
YARD THEY HAVE JUST CAE FROM.
JACK: She might be down at the
chickens---Mabel!
FRED : Have you moved them them?
JACK: The chickens? I'll say!
No more pecking and dirtying the
house. I don't go in for this broiler
house s tunt because to my'mind it
don't produce a tasty egg, but I like
to confine 'em a bit---sit down mate.


FRED SITS DOWN.
JACK (TAKING A SHEET OF NEWSPAPER
MECHANICALLY) Yes I like 'em free
range but not so free. as to dirty my
frontyard (WITH A CHUCKLE AS HE
SPREADS THE NEWSPAPER ON ONE OF THE
ARMC-HAIRS AND SITS DOWN).
FRED: - You haven't changed Jack.
Same kind of humour.
JACK: Can't say you're different.
Lined round the eyes. City life, I
suppose.
FRED:
That's it.
JACK: Wife all right?
FRED;: Yes thanks.
JACK: And What brings you here?
FRED: - Just to see the old faces.
Not much Work comes in this time of
year so I thought I'd drop down to
the old place, see how it's changed.
JACK: You found work all right then?
FRED: Yes, well they fixed that up
after they--
JACK: Good pay?
FRED: Oh yes. Not rich but I don't
have to worry: I've got three boys
now:
JACK: Go on!
FRED:
The eldest wan ted to oame but
I put my foot down. I thought I'll
have a few days all on my lonesome for
a changé, Well you can't feel free
can you, not with a kid around, I mean
it's different if your wife's with you
but, well, anyway, he wanted to see
the manoeuvres, God knows where he got
the idea, he's mad on S oldiering--
nine years oldi-- :
JACK (GETTING UP) And where would he
find manoeuvres?
HE GOES TO THE WINDOW.
FRED:
Well you know----
JACK: I haven't even got a shotgun.


Mabel!
(OPENING THE WINDOW FURTHER)
Oh, there you are,
MABEL (OUTSIDE)
I heard you the first
JACK: It's Fred. You remember---
Fred Powell. From down .the old Castle--
MABEL (COMING INTO FRAME OUTSIDE-THE
WINDOW, WITH BUCKET AND RUBBERED HANDS)
Fred---1 Well I never! Here I'll
just.drop this and I'll.be int
JACK (TURNING FROM THE WINDOW) Knew
she'd be surprised.
FRED: My wife's always on about Mabel
and her cakes, and the way she used to
throttle a bird--
MABEL COMES IN, WIPING HER NOW UN-
RUBBERED HANDS ON HER APRON.
MABEL: Well how are you mate?
FRED: All right. How's yourself?
You look a treati
JACK: Now then, now thent
MABEL: Leave him alone! I don't get
mai ny C ompliments! How's Rachel then?
FRED: Oh she's fine. I was telling
Jack; we've got three now, three boys----
MABEL: No go. on, 'have you really?
Well. that's nice---i Now then, what
shall I get you Fred? Would you like
a cup of tea? :
JACK:
'Course he wouldi
MABEL: I know you would.
JACK (TO FRED) I take it like a
sponge, all day.
FRED: Yes I remember you was always
a big tea-drinker, funny how these
little things c.ome back to the memory,
isn't it?
MABEL: I didn't hear no taxi!
FRED: No I was saying to Jack, he
wouldn't come no further than the
archway. He said----
MABEL (av THE WAY OUT) I'll get you


tea, mate, just you sit there and
make yourself comfortable.
(WITH A
SUDDENY GALVANISING GLANCE AT JACK'S
CHAIR) You put newspaper down then?
JACK (SUBSIDING INTO THE CHAIR AGAIN
AND ONLY HALF ADDRESSING HER AS SHE
GOES AWAY) * Well wouldn't you, with
a wife like mine?
MABEL (FROM OUTSIDE)
Oh go on!
FRED: You're both the same: * It's
nice to see people who haven't changed.
We get so many changes nowadays we
can't hardly keep pace, can we? I
never thought five years ago I'd move
away from here but there you are, fate,
in the form of--
JACK: Oh I shouldn't Worry! Moving's
all right. Wish I'd done a bit of it.
FRED: Get fed up with the same old
place S ametimes?
JACK: No not really. Can't say I
do, not really.
FRED: Lovely day, Jacki - I was
sweltering coming over that hill.
Quite like the old summers eh, when
JACK: Oh the summers"are all right.
FRED: Remember the fishing, down at
the old Castle?
JACK: I'll say.
FRED: Still get down there do you?
JACK: Well to tell you the truth
I don't get the time any more.
FRED: Sunday mornings, nice and brisk
and early, poling down to the river...
JACK: That's right. I've got a big
place here Fred, you see. It's a night
and day job. Couldn't leave it if I
wanted to.
FRED: Go on---you farmers are'all the
same.
JACK: Well look at the cattle alone. .
I might get a birth in the middle of the
night. You can't leave cattle----


FRED:
Wha t about holidays Jack?
Do you get any?
JACK: Holidays!
FRED (ENJOYING IT) Never?
JACK: Not me! I don't think Mabel
and me has ****X seen the sea si ince
turned six years, when your Rachel had
her uncle over and we all st tayed down
at the coast----
FRED:
What, not since then?
JACK: Well first I reckon the air
here's as good as any sea air and
second I haven't got the time So---
FRED: But you're allowed to,like?
JACK:
Allowed? to go on holiday?
FRED: Yési
JACK: Well of course we're allowed!
Who's to stop us?
FRED: No I just thought---
JACK: Cliff gets away regular.
He's got the old blacksmith's house
down in the village.
FRED: Go on! Old Cliff?
JACK:
I'm a grandad of---how many---
oh about fifteen now!
FRED: Well good luck to you. I dont
reckon there could have been a better
dad than you was' to the kids,
JACK: Oh they deserved it. Good
bunch really. And now they've all
gone": it's even better (WITH A CHUCKLE).
She's a bit narky now and then but so
am I, so it evens out all right by the
end of the week. Good: sort, old
Mabel--
FRED:
That's right. Good worker
too.
JACK: Work? She's up before I am
in the morning, And I don't think
she's been ill a day. touch wood S ince
you "left.
FRED: Go on!
CUT TO THE KITCHEN WHICH IS AS SOLID
AND CLEAN AS THE LIVING ROOM.
TEA


IS ON THE BOIL AND MABEL HAS JUST
FINISHED PREPARING GIANT SLABS OF
BREAD AND BUTTER. SHE WIPES HER
HANDS ON HER APRON AND GOES BUSILY
ACROSS TO WHERE THE WALL TELEPHONE
HANGS, AFTER A QUICK, THOROUGH GLANCE
INTO THE CORRIDOR OUTSIDE. SHE
DIALS THREE NUMBERS.
MABEL (INTO THE PHONE) George!
Georgei Are you coming up?
(AFTER
A PAUSE)
There's a visitor: A
visitor!
SHE PUTS THE PHONE DOWN WITH A WALLOP
AND PEEPS ROUND THE DOORWAY AGAIN
BEFORE GOING BACK TO THE STOVE.
CUT BACK TO THE LIVING ROOM.
JACK: No there's never an animal
crosses this yard now Fred, not like
the old days. What with chicks under
your feet and the odd pig turd and a
calf got loose you never knew where
to put-yourself. Besides, the muck.
I used to sluice this yard down regular
night and morning. Never touch it
now, bar once a week. Rain does the
rest.
FRED: It's certainly spotless Jack.
Still I like to see a bit of livestock
about. Gives atmosphere.
JACK: Yes and a pretty thick one tool
(WITH HIS CHUCKLE) No Fred you can
keep your atmosphere, I like a clean
yard and a clean place to live in.
FRED: Oh I'm With you there. Can't
say I caught a whiff of livestock
coming in.
JACK: Well I've got it all mechanised
mate, I reckon I put fresh hay down e
for thirty head of cattle ins side an
hour, and get the muck deposited out
of sight and out of mind in about the
same time:
FRED: Go on-.
MABEL COES IN WITH THE TRAY.
MABEL: I've cut you some bread and
butter Fred like you used to like it.
FRED: Well that's nice Mabel. Tell
you the truth. I haven't had a bite
since early morning. . Caught the
first train out,.


MABEL (SPREADING A PAPER NAPKIN ON
THE ARM OF FRED'S CHAIR) That's
right. Here, rest your plate there.
JACK (STILL FIXED ON FRED) The only
time an animal passes across that yard
is on the way to slaughter, is that
right, Mabel?
MABEL (GETTING THE TEA) Yes Fred,
we're a damn sight cleaner than the
old days, remember the muck we put
up with?
JACK: Yes you can keep your atmosphere
Fred. (TO MABEL) He says a bit of
muck gives atmosphere.
MABEL: No you give me a clean farm.
Labour saving!
FRED (TAKING A PIECE OF BREAD AND
BUTTER) Yes I suppose it is. of
course I remember my old dad, he used
to say there was nothing better nor
healthier than the smell of muck.
JACK: Your dad never managed sixty
head of cattle without farmhands I
FRED: Is that what you've got?
JACK: As true as I sit here. Is
that right Mabel?
MABEL: Sixty-one be next Monday or
Tuesday if she gives birth.
FRED: Well how do you manage for.
God's sake?
JACK: It's the mechanisation Fred.
of course I've got girls coming in
for the milking. But it's all built
in you see Fred. Automatic sleuces
for the urine, hatch under every
animal for the heavy stuff, and fresh
hay comes in on a track down the
middle,
FRED: Well all I can say it's changed
a bit since I was here!
JACK: I'll say.
FRED: They must have given you a
pretty penny to get it all going eh?
JACK: Oh we got the capital.. All
that's capital, ain't it?
MABEL, HAVING FINISHED MINISTERING TO


FRED, SITS DOWN ON AN UPRIGHT
CHAIR, LIKE SOMEONE TO WHOM SITTING
DOWN COMES HARD.
FRED: Well good luck to you, that's
all I can say: I mean none of us was
all that well off, were we? So I
suppose it did a bit of good as well.
It uprooted us, and messed us about,
and we wasn't asked our opinion, we
was just kind of shot out and that was
that, we found ourselves on the door-
step didn't we, minus a job and minus
a roof over our heads. Unless we had
biggish farms like you. of course I
was slowstartingap in the narsery
business; thère was no call for it
here really, was there, after the----?
HIS SENTENCE IS CUT SHORT BY THE
APPEARANCE OF GEORGE, SMALL AND PLUMP
AND JOVIAL IN FEATURE.
MABEL (GLAD TO JUMP UP) Why hullo
George! Didn't see you cross the
yardi Do you know Fred Powell, used
to live down in the village---he
popped over to have a look at us -all!
GEORGE: Oh how do you do?
FRED (IN A CONFUSION OF CUP AND SAUCER
AND PLATE AND PAPER NAPKIN AS HE TRIES
TO RISE) How are you Mr----?
GEORGE: Just George. They all
George me here.
MABEL: That's righti
JACK:. Busy down the village, George?
GEORGE: Not so. bad (SITTING DOWN).
MABEL (TO FRED) George sorts the
mail.
FRED: Oh yes? I was saying to Jack
and Mabel here, it's all changed a bit
since my time, by all accounts. Is
the post office mechanised as well?
JACK: I've been telling him about
my new installations George--
GEORGE SIMPLY LOOKS FROM ONE TO THE
OTHER AS THEY SPEAK.
FRED: They gave me a certain amount
of compensation but it could have been
more. (TO GEORGE)
Whereas what I'm
saying is, the people who stayed here,


like Jack, got a better deal, with
all this machinery and S treamlining."
I just got the boot, and I had to---
MABEL: Would you like a cup of te a
George?
GEORGE: : No thanks.
FRED: Still I mustn't grumble.
JACK (WITH RELIEF)
That's right.
MABEL (TO GEORGE) He's got three
lovely boys.
JACK (ALSO TO GEORGE) I reckon he
took the prettiest girl. in the village,
anyway; eh Fred?---I don't reckon many
could have C ame up to young Rachel--
she was a peach when she was a kid,
I remember the whole village was wooing
her at one time--
MABEL: Now then! you'll say a bit
too much, eh George?
JACK: Oh, not that Rachel looked to.
right or left. She waited for her man.
And there he was. And she stuck to
him: She never pickled about like
some of these girls, eh Fred?
FRED (TO GEORGE) Well, you-know, we
got married 'early, and then there was
the kids, and we're both hard workers,
THERE IS A BRIEF SILENCE.
MABEL:
Would you like another cup
Fred?
FRED: No thanks Mabel, that was very
nice, and I like your butter.
JACK: Made in my own machines. They're
a sight to behold, I can tell youi
Like a show-round Fred?
MABEL:
That's it, then I can get this
place in shape, I haven.'t been round
with the duster this morning!
JACK: I reckon you've been round it
half a dozen times already---
GEORGE) House-proud, she never sits
still a minute!
THE MEN ALL GET UP. JACK LEADS THE
WAY WITH FRED AND THEN GEORGE BEHIND
HIM:


CUT TO MABEL WATCHING FROM THE SITTING
ROOM, HER HAND UP TO HER MOUTH, MUSING
HARD, AS THE MEN CROSS THE YARD OUT-
SIDE,
CUT TO THE MEN ENTERING ONE OF THE NEAT
OUTBUILDINGS.
GEORGE IS ALWAYS A LITTLE
BEHIND.
CUT. BACK TO LIVING ROOM. MABEL REMOVES
THE NEWSPAPER FROM JACK'S CHAIR.AND
SLAPS THE CUSHIONS.
THEN SHE TAKES
THE TRAY OF TEA THINGS AWAY.
CUT BACK TO THE YARD WITH THE MIN NOW
STROLLING ACROSS TO ANOTHER OUTBUILDING.
FRED: And the sliding doors---I've
never seen such an outfiti It must
ha ve cost a bomb!
JACK: Not so bad is it? Now the
pigs are right down there (POINTING)
where their smell only bothers them-
selves. Now as I expect you remem-
ber Fred I've never believed in an
unexercised pig and I've got well nigh
three acres down there with electrical
fencing all round and automatic drain-
age, where they. can root and roll as
much as they please. And how mamy
head of pig do you reckon I've got
there George? About two hundred and -
fifty?
GEORGE NODS A GENIAL YES.
FRED: But how do y ou run it all?
JACK: Well for the muck I get a
special clearance squad in once.every
forty-eight hours, and the slaughtering
looked after too, all I do is'sign a
duplicate saying weight and age and -
sex and the following morning the job's
done and I don't even see the animal,.
just get an invoice as they pass across
the yard in a truck, and the néxt week
a cheque comes in regular as clock-
work, eh, George?
FRED: Blimey you see some changes
don't you? When I tell my wife all
this she won't believe a word! The
village is still there OK is it?
JACK: Like a run down there now?
You remember my Cliff don't you?
FRED: Remember him? (TO GEORGE)
We was best pals in the village I
reckont We was always up that old
castle tower, I reckon we brought


more bricks down off it than was ever
put up!
JACK: Well he married Lil Fields,
you remember the Fieldses, do you,
they moved too, they're in the hotel
line if I heard right----
FRED: - Go on?
JACK: Cliff'll be just coming in for
his dinner, shall we push off down - then,
it'll make a nice break for me too---- -
half a minute I'll just tell the wife---
HE MOVES AWAY FROM THEM TOWARDS THE
HOUSE.
FRED: Been in the village long
George?
GEORGE: Oh yes.
FRED: Work down at the post office
you say?
GEORGE:
That's right.
CUT TO JACK IN THE HALL OF THE HOUSE.
JACK (CALLING) Just taking Fred down
the village!
CUT TO MABEL AT KITCHEN DOOR.
MABEL: Don't be late for your dinner.
And no drinks!
JACK: I'd like to see you drink with
George at your elbow!
HE GOES ATAY BUT STOPS AGAIN.
JACK: Er---Cliff comes in about now
don't he?
Kim
MABEL: What, you taking/over there?
He'll just be sitting down to his dinner!
JACK: Oh well, once in a while. We
don't get many visitors.
CUT BACK TO FRED AND GEORGE. FRED
IS SHOWING SIGNS OF POOR MORALE,
HAVING BEEN ALONE WITH GEORGE.
GEORGE:
That's right.
JACK COMES INTO FRAME.
JACK: Well let's push off shall we?
I reckon Cliff'll be glad to see you.


FRED: Yes it's a long time you
know---five years---
JACK: His kids are at school, which
if you knew 'em you'd think a mercy,
because they're the noisiest set of
blighters in the village; though I am
their grandfather, eh, George?
JACK UNLOCKS A FLAPUP DOOR AND IN CNE
EASY. MOVEMENT HAS THE GARAGE OPEN.
INSIDE THERE IS A DOORLESS VEHICLE
THAT COULD BE A LAND ROVER WERE IT
NOT FOR ITS PECULIAR WING ATTACHMENTS
AND STRIKING WHITE PAINTWORK.
FRED:- Blimey what the hell's that,
an aeroplane?
JACK: Goes like one. Half a jiffy,
I'll just back her out:
(AS HE GETS
IN) She'll go up a muddy one-in-
three without even C oughing, and
there's no gear-change!
FRED: Go ont
JACK BACKS THE VEHICLE OUT AND FRED
STUDIES IT. HE GIVES HIS ATTENTION
TO THE LICENCE PLATE WHICH IS M4000.
FRED: That's a quaint licence plate
isn't it?
JACK: Oh that's a village number.
Got our own classification now, well
you see we needed it, with the re-
organisation, it stood to reason!
eh George?
FRED (AS THEY GET IN) Have you got -
four thousand vehicles in the village
then?
JACK: Four thousand?
(WITH A
LOOK AT GEORGE). I should say six
thousand, to be on the safe side, eh,
George?
JACK (STARTING UP LOUDLY) Hold on
to your seat mate, this is a rough bit
of pathi
HE TAKES THEM AWAY WITH A JOLT AND THE
LAST OF THE SHOT.IS FRED CLUTCHING THE
SIDES OF HIS SEAT.
CUT TO ROAD AS M4000 DRIVES ON TO IT.
LS OF SMALL VILLAGE WITH M4000 APPROACH-
ING IT ON A DOWNHARD SLOPE AT SPEED.


MS OF VILLAGE SHOWS IT PEACEFUL,
HUGGED WITH TREES,
CUT TO M4000 DRAWING UP IN THE
TINY MAIN STREET WHICH IS REALLY AN
AVENUE BE: TWEEN DETACHED HOUSES OF
VARIOUS EPOCHS ON EITHER SIDE.
FRED (GETTING OUT) Well I think
you deserve a drink after that, Jack.
Bumpy but fast.
JACK: Marvellous isn't it? Smoothi
Why I don't reckon I've been ân a real
de luxe saloon car that's smoother:
FRED (LOOKING ROUND) Well this
hasn't changed! I don't reckon a
tree!s been felled even :
JACK:
That's right. Cliff's got
that little house-- (POINTS)
FRED; Where the blacksmith used to
JACK (AS THEY WALK DOVN THE GARDEN
PATH) It was like the black hole
of Calcutta When they took it over.
You ought to have seen it! I reckon
the old chap hadn't put a broom to the
place for nigh on. thirty years, let
alone a scrubbing brush. No iavatory.
He had one tap of oold water; God
knows how he managed for a shave on
a frosty morning. Well they ripped
open the insides and it's like a
palace now:
JACK LOOKS IN AT THE FRONT WINDOW.
JACK: You there Lil? (TAP TAP ON
THE WINDOW)
LIL'S VAST VOICE:
JACK: It's Jacki
LIL'S VAST VOICE: He's. just de-
greasing hisself!
JACK: Well open up, it's visitas!
LIL'S VAST VOICE: Visitors?
A WINDOW IS PUSHED OPEN WITH GREAT
VIOLENCE UPSTAIRS AND LIL BURSTS GN
LIL: Oh hullo George. (TO JACK)
He's in the bathroom.


JACK:
Remember Fred Powell?
LIL: Fred---? Well bless my soul,
it's Fred Powellt Here Cliff----:
(CALLING OUT BEHIND HER) Your old
pal's back Cliff! (TO FRED) He
talks about you a rare lot---you wait
till he sees you! (AT A LOSS WHETHER
TO PUT HER HEAD IN AND CALL CLIFF OR
STAY BELLOWING DOWN AT FRED) Cliffi
(TO FRED) He's getting the grease
off! CLIFF!
SHE PULLS HER HEAD IN BUT JUST AT THAT
MOMENT CLIFF APPEARS AT THE WIND OW TOO,
THE TOWEL HE IS WIPING HIMSELF ON ALMOST
AS BLACK AS HIS FACE AND HANDS. HE
PEERS DOYN AT THEM RA THER LIKE A MECH-
ANIC INTO ACYLINDER HEAD, WITH LIL
AT HIS SIDE.
CLIFF: Well would you believe it!
It's Fred! Old Fred:
JACK: He dropped in this morning.
Talk about surprise!
CLIFF: Well come in mate. Would you
believe it; old Fred Powell. I'd
given you pp for goàd mate. How*s
Rachel, all right?
FRED:
Yes thanks Cliffi You don't
look so bad yourself!
LIL: Here come -on, don't stand talk-
ing at the Window ail the time.
CLIFF: : She'll be down to open up.
THEY LEAVE THE WINDOW.
JACK: of course I forgot you two was
rare playmates.
(TO GEORGE)
Talk
ab out larks, you ought to have seen
these twol
LIL OPENS THE DOOR.
LIL: Come in: * I was just getting
his dinner on the table.
FRED: Look duck don't you worry about
me, I had a platefull of bread and butter
down at your in-lawses--
LIL: Don't talk silly, you'll have a
bite with us, I don't promise anything
special but----
CUT TO GLEAMINGLY NEAT BACK ROOM
OPENING THROUGH FRENCH INDOWS ON TO


A SUNNY GARDEN AS THEY ALL COME IN.
THE TABLE IS LAID FOR TWO.
FRED: Well this is nice.
LIL: It wasn 't when we moved in, eh,
Jack?
JACK: I was just telling him----
LIL: I reckon the builders was a
week getting the dirt off the valls,
bef ore they started replas tering :
FRED: Goon:
LIL: He never looked after hisself
aftér his wife died, you see.
CLIFF CLUMPS INTO THE ROOM, HIS
SLEEVES ROLLED UP.
CLIFF: Well how are you Fred?
FRED (AS THEY SHAKE HANDS) Not so
dusty! I don't see as you've changed
much!
CLIFF: Just a bit more grease, that's
all.
FRED: You.'ve made this place anyhow.
CLIFF: You ought to have seen it when
we moved in, eh, dad?
JACK: Yes I've been telling him.
FRED: Still Working at the Barn Cliff?
CLIFF: Barn? No! Didn't dad tell
you?---I started up on my own. I
reckon I've got forty vehicles standing
in my place at the moment.
FRED: Go on!
CLIFF (AS THEY ALL PREPARE TO SIT
DOWN UIN THE PORCHWAY BEYOND THE FRENCH
WINDOMS) Come and take a seat
George. You know George do you Fred?
FRED: Oh yes.
CLIFF: Yes I've got a place down by
the church----
FRED: Go on, where the stables used
to be?
CLIFF: That's right. I ripped out
the stables----(TO JACK) they as good
as fell apart, didn't they?


JACK: I'll say!
CLIFF: Then I sunk a few repair bays
underground, pressure-gear and all.
Oh there's nothing missing in my place,
not for up-to-date equipment. I'll
show you after we've had a bit of
dinner.
JACK: I reckon Fred'll be fed up with
being shown round, after my place; eh,
Fred?
FRED (TO CLIFF) Your dad's place has
changed too eh? I don't know how he
gets the work done!
CLIFF: Well same as me. It's all
system nowadays. I never have to
worry about getting rid of my used
oil like I used to. None of them
blinking barrels full of oil lying
round half a year like we used to at:
the Barn. They come and collect it---
FRED: Go on?
CLIFF: Oh yes, it's all organised
nowadays. Weli that leaves me free
to do the job, you see. In the old
days you never knew what was coming in.
and What was trying to get out---the
barn door never got closed in thirty
years I reckon, there was always a
truck or half a dozen broke-down
tractors stuck in front of it.
FRED:
That's right:
CLIFF: And how about you Fred?
life treating you all right?.
FRED: Oh not so dusty.. It was a bit
of a break, moving awat like that.
Well it is; isn't it, if you've been
born in a place, and we was always
like one big family really, wasn't -
we? I mean, it wasn't really dull.
JACK (WITH A WINK AT GEORGE) You two
saw to thati
FRED: What I would have liked would
have been to get a job in town and
keep the place here---it's only ten
miles down the road, after all.
CLIFF:
That's right.
FRED: But no, some bloody great
bulldozing scheme comes along and the
human beings : don't get considered,


I mean I know I got compensation
CLIFF:
Would you like a drink
George?
GEORGE: : No thanks :
CLIFF: Wha t about you Fred?
FRED: Oh well.
CLIFF: I've got some beer in the
cellar. How about that?
FRED: Yes well,_that's very nice:
CLIFF GETS UP AND CROSSES THE LIVING
ROOM WHILE THE OTHER THREE CONTINUE
TO SIT THERE, IN SILENCE. FRED JOGS
HIS LEG, JACKTAKES HIS HANDKERCHIEF
OUT AND BLOWS HIS NOSE, GEORGE SITS
QUITE IMPASSIVE. A SLOW FADE.
OPEN AGAIN ON CLIFF'S LOFTY GIRDERED
GARAGE, WHICH IS FULL OF M4000-TYPE
VEHICLES, ALL PAINTED WHITE, WITH
THEIR STRANGE WING ATTACHMENTS: AT
FIRS T WE ONLY SEE CLIFF AND FRED, AND
IN THE BACKGROUND YOUTHFUL MECHANICS.
SOUND OF SPRAYS AND HAMMERING.
FRED:
These attachments, Cliff,
what kind of purpose do they serve like?
CLIFF: Oh well, you know; they're
safe. If you go over sideways on one
of these tricky slopes you need wings
to my mind.
FRED: Yes I suppose you do.
CLIFF: You see (AS THEY WALK ON),
what we did was trim things dow to
their basics.
FRED: Oh yesi
CLIFF: Instead of equipping our-
selves with every car on the market
we put in an order for this lot;
custom built. Well, it stands to
reasan, weve got all the spare
parts, we can streamline the mainten-
ance right down.
FRED: Still, I'm surprised éverybody
wants the same vehicle though. They've
got no doors either.
CLIFF: Well they're all purpose like.


FRED:
They wouldn't be all purpose
for me. Bloody draughty I should
think.
CLIFF: Yes I can strip one of these
down and get it back on the road inside
an hour, even if it's a differential.
FRED TAPPING ONE OF THE WING ATTACH-
MENTS) They look like machine-gun
grips if you ask mei
CLIFF: Machine guns I Listen to
that :
AT THAT MOMENT, AS THEY PASS BETWEEN
THE VEHICLES, GEORGE APPEARS, WAITING
FOR THEM.
CUT TO THE THREE OF THEM WALKING ALONG
THE DESERTED VILLAGE STREET, RETURNING
TO CLIFF'S HOUSE.
FRED: Still go down the Duck of an
evening?
CLIFF: - Oh yes.
FRED : Used to have son good times
down at the Duck, eh?
CLIFF:
That's right.
FRED: of course I see it all with
rose-tinted spectacles. The past
wasn't all roses but still, you've got
CLIFF: We've got quite a big tea
party by. the looks of it.
SHOT OF LANE OUTSIDE CLIFF'S HOUSE
WITH TWO OR THREE IDE TICAL WINGED
VEHICLES PARKED.
CLIFF: Good thing Lil made a cake
yesterday. I said, make a cake ma: te,
you never known who might calli
That's providence, eh Fred?
CUT TO THE HOUSE, ON THE FRONT DOOR
AS THE THREE OF THEM STROLL TOWARDS
IT. VOICES DRIFT OUT.
CLIFF: Not often I break off for
tea.
FRED: Go on, do you good, Cliff.
Mustn't turn into a machine you
know. Get like your dad if you're
not careful---(AS AN AFTERTHOUGHT)
eh George?
CUT TO LIVING ROOM WITH CHAIRS AND


TABLE SET BEYOND THE FRENCH W INDOWS
AND EXTENDING INTO THE BUSHY GARDEN.
THERE ARE JACK AND MABEL, NOW DRESSED
FOR THE OCCASION, LIL, NO LONGER IN
HER APRON, AND CNE OTHER COUPLE,
MR AND MRS WILLOUGHBY. THE TABLE IS
LAID FOR TEA WITH A GREAT DARK CURRANT
CAKE IN THE MIDDLE ON A PAPER DOILY.
THERE ARE DAINTY SANDWICHES WITH THE
CRUSTS CUT OFF. IT IS ALL FARMHOUSE
FARE, SERVED IN THE OLD FARMHOUSE WAY,
BUT WITH GLEAMING EFFICIENCY AND A
SUGGESTION OF MORE THAN RUSTIC AWARE-
NESS.
THE THREE MEN COME IN.
LIL: Come in Fred.
FRED: Well look at this.
LIL: Funny I should bake a cake
yesterday. I u sually get our cake
at the stores but Cliff said go on
let's have a home-made cake for a
change. He must have read the stars
I reckon.
CLIFF: Just what I said:
POLITE LAUGHTER.
MABEL: I expect you'll recognise
some old faces Fredi
FRED: I'll say I dos How are you
Mrs Willoughby?
THEY SHAKE HANDS.
MRS WILLOUGHBY: Hullo Fred. You
haven't chang ed, has he, Arthur?
WILLOUGHBY: How long is it? (AS
THEY SHAKE HANDS) Five years?
FRED:
That's rights
WILLOUGHBY; Rachel keeping all
right Fred?
FRED: We've got three fine boys now.
WILLOUGHBY: Go on, have you?
FRED: And how 's the local police
force? still waging war on delinquents
like Cliff and me?
WILLOUGHBY: Well it was a bit more
peaceful when you left!
SAVING CRIES OF 'OH!' FROM THE WOMEN


AND FIRM LAUGHTER.
LIL: Well sit down all. I'll
help youi. tith plates. It's be tter
on your lap, isn't it (TO MRS WILLOUGH-
BY)? More informal.,
MRS WILLOUGHBY:
That's right.
THEY ALL SIT DOWN AND THE TEA BEGINS.
FRED (TO MRS WILLOUGHBY) Yes they
gave me a week off and the wife said
why don't you slip down home while I
get the house straight. We always
call it home. She didn't do the
spring cleaning this year because
mother was took bad; still she's all
right now touch wood---
MABEL: Oh that's good. I liked
your mum. Good sort.
FRED: She had a bit of bronchitis,
I was afraid of pneumonia, still we
made her camfortable, gave her one
of the kiddies' rooms, with a gas-
fire and all. So she didn't do so
bad.
WILLOUGHBY: Gof a nice place over
there Fred?
FRED:
Three large bedrooms, anyway.
WILLOUGHBY: Oh well, you're not
doing so bad then!
FRED:
To judge by what I've seen
already it's you lot who've moved up
a bit!
WILLOUGHBY:
We haven't done so bad
either, eh, George?
FRED: What beats me is how they
ckose the blinking names! I found
myself without a roof over my head---
between one day and the next.
WILLOUGHBY: I reckon it had to do
with your line of Work.
FRED: And then again you get other
pe ople saying it had to do with where
you lived. Now our place was down
by the moat and God knows how many
surveyors we didn't have down, poking
around. And I bet the place is st till
standing empty.
LIL: Here's your tea Fred,


FRED (TAKING CUP AND SAUCER) Oh
that's very nice.
LIL: Help yourself to sandwiches.
Don't si tand on ceremony. We' 're still
the same old family underneath?
FRED (TAKING ASANDWICH) Thatts what
I like to hear: We had damn good
times, I don't care what anybody
says. I've been living a hundred
miles down the line for five years
now and I don't think I've ever met
such a miserable set of blighters.
Oh they're not so bad really, we go
down the pub of a Saturday night
sometimes but it's nothing like the
old get-togethers we used to have
down at the Duck,
WILLOUGHBY: I think you can get a
lot of hate in these villages, just
the same :
FRED: Oh you get that everywhere.
I say we've all got hatred in us if
we like to give way to it. What I
mean is we was none of us angels,
but we had a good life, that's ail,
we stuck together.
LIL IS HANDING TEA TO THE OTHER
GUESTS.
MRS WILLOUGHBY: Do you rememb er
Doreen, Fred?
FRED: Doreen? I'll say I do!
Don't tell me she's got a house full
of kids tool
LIL: Listen!
MRS WILLOUGHBY: She's got quite a
position now I believe!
FRED: Has she really? - And she still
lives next door does she?
WILLOUGHBY: Oh yes.
FRED: Well that's what I mean (TO
MR WILLOUGHBY). You can't say she
had essential work, I mean she dida
bit of embroidery and chair covers
when her poor old mum died but you
wouldn't call it essential:
WILLOUGHBY: I don't reckon they had
the heart to shift her, myself.
FRED: Why not?


WILLOUGHBY:
Well,: you know, a
si ingle woman, all alone.
FRED: What, do you mean to say she
never got married?
JACK: Not after she'walked out: with
you mate!
FRED: Go on!"
MRS WILLOUGHBY: You must have made
an impression that stucki
THE WOMEN ECHO THIS WITH LAUGHTER.
FRED: Well would you believe iti
Now I'd nev er have said young Doreen
was the s ingle type, would you? She
always doted on kids.
WILLOUGHBY: Oh there's time yet I
suppose. Though she is turned thirty
one -
MRS WILLOUGHBY:
Thirty two: She's
two years younger than me :
JACK: Well that's honesti You don't
often get Women volunteering their
agest
WILLOUGHBY: Sou wait till she's
turned forty, she Won't be so honest
theni
LAUGHTER,
CLIFF: We asked Doreen in to tea
Fred, But no. As shy as ever.
When you knock at the door she goes
all of a tis-was. That right mum?
FRED: But fancy her not finding a
husband!
LIL: She didn't evem look! After
you went to church with Rachel I
reckon she thought she d close up
shop and live on the memory!
MORE LAUGHTER.
FRED:
Well they tell me I'm not a bad
looker but I've never classed myself
as a Romeo.
LIL: It's not looks that decide a
woman.
FRED: What is it then; character?


LIL: Well I reckon a girl who's
not married by that age -never intended
to marry and never will!
CLIFF: She said she'd like to see
you, if you had the time:
JACK: Ay ayi
MABEL: The fast hussy!
LIL: Ssshi
LAUGH ITER.
FRED: I liked young Doreen though:
Very sincere type of girl: But she
never had much go in her. of course
I reckon her mother did that. Always
'Doreen do this' and.'Doreen do that',
the poor kid never got a chance to
look at herself if you see what I
mean.
WILLOUGHBY: Oh she does all right
you know: The cottage belongs to.
her like it did to her mum and she
gets a month by the sea every year.
I believe she'll be on the :school
board this next quarter:
FRED: What, is she a teacher them?
WILLOUGHBY: Inspector. Took a
diploma.
FRED: Go on: It must have been
after I left then because as far as I
remember she was fitting chair covers.
CLIFF:
She found out how cléver she
was. It's marvellous what you can do
when you're forced to.
FRED: -Why, she had her mum's money,
didn't she? And the cottage is: hers.
CLIFF: Well I mean she couldn't have
stayed on without doing some thing,
could she?
FRED: Why not?
A PAUSE.
CLIFF: Well she went in for these
exams anyway. She had to get W. ork;
THE OTHER GUESTS ARE STIFF WITH SILENCE.
CLIFF DOESN'T FINISH.
LIL: Have som more tea Fred?


FRED: Oh thanks very much.
SHE HELPS HIM TO MORE TEA.
WILLOUGHBY: You couldn't have
brought better weather with you Fred,
FRED: I hope it lasts out the week,
I want to get some fishing ini
JACK: Oh I noticed your fishing
tacklet
FRED: Yes, we had a busy winter at
the office, then mum was took bad, so
I didn't get a holiday.
MABEL: It's a wonder Rachel didn' 't
come, kids as well, just to see the
old facest
FRED: No she was dead set on getting
the house straight, so I thought, well,
best not to argue, she can probably do
with a week less of my company anyway!
MRS WILLOUGHBY: Oh go on!
FRED: No well I mean you don't aiways
want to be in each other's hair do you?
And she knows I like a bit of fishing.
Well it's no.fun for her to come down
here and sit on the river-bank for
three hours at a time kistening to the
birds is it? I mean a fisherman
isn't fascinating company, not by any
standards:
CLIFF: I always used to wonder at
your patienc e Fred.
FRED: Oh well I sit and sort of half
doze. It's a rest more than enything.
Oh while.I remember it I suppose old
Mansfield still lets rooms at the Duck,
eh, Jack?
JACK (TO WILLOUGHBY) How is he fixed
for Booms now?
WILLOUGHBY: I doubt if the Duck lets
any more.
FRED: .Oh, why is that? Did old
Mansfield go?
WILLOUGHBY: Oh he's still there;
as large as life, but I think his
brewery changed and they cut out the
bed and breakfast t lark,
FRED: Oh I see. More bulldozing.
WILLOUGHBY:
Well there was never any


real call for it. There might be
somebody wanting a room once or twice
a year, and then usually a contractor
or a commercial traveller, and as a
rule they prefer private rooms, it's
cheaper.
FRED: Still old Mansfield did you
proud. I'll never forget his break-
fasts. When we was moving out, or
rather being shot out, he served me
up one -morning with three damn great
slices of roast beef and a pint of
wallop---for breakfast, mind---eight
o'clock in the morning believe it or
not. I could take it in those days.
Damn ed if I could now: Well you
get sedentary in offices. The
digestion starts packing up:
JACK: Anway you're all right for
dinner tonight, Fred, along of us;
it's all organised: Cliff and Lil
are coming up with the kids, so we'll
have quite a party. And I expect
Mabel knows what you like, eh, Mabel?
MABEL : I'll say I do! Fred amd his
meat puddings used to be famous!
FRED: Meat pudding? Mea t pudding
tonight? Weil bless my s oull
LAUGHTER AT HIS RAPT DELIGHT.
MABEL: It won't be the first I've
made for you eh Fred, not by a long
way? Remember you and Cliff creeping
in at two o'clock of a morning and
eating it cold in the kitchen?
FRED: I remember, but you was supposed
to be asleep!
CLIFF: Sleep---mum? She always kept.
one eye open.
MABEL (TO MRS WILLOUGHBY)
I always
used to reckon it out, I'll make enough
meat pudding for the boys when they
come in hungry tonight at two o'clock
in the morning! Talk about laugh!
of course they always used to think
I didn't notice. Boys are like that
aren't they? The games these two
used to get up to! I was frightened
sometimes. old constable Shawley used
to clump, clump across our yard in
the morning sometimes, I always remember
the sound of his boots, and he used
to say, your son and young Fred Powell
has been up to mischief again, Hrs.


FRED (TO CLIFF)
And he never even
put in a report did he? Good old
stick, Shawley.
WILLOUGHBY: Yes, I served under him
for nigh on fifteen years, and I don't
think I once saw that man in a temper.
And that's how you keep a village in
order.. .You've got to be patient, and
use a bit of wisdom instead of the
back of your hand, however much your
hand wants you to use it.
DEFERENTIAL LAUGHTER.
FRED: There's one thing I have
noticed and that's how there don't
seem to be many people about in the
village. Now that's a big change
from. my day. You had to s tep over the
kids not ten years back!
WILLOUGHBY: Well a lot moved out of
course.
FRED : You mean a lot was shoved out.
WILLOUGHBY: Well we've all been mucked
about a bit, the ones who stayed as well.
FRED: Oh yes, I'm not saying that.
What I mean is I wouldn't like living
in a deserted village--
WILLOUGHBY: Oh it's not deserted!
MRS WILLOUGHBY: The children are all
at school. You wait till they get
out, eh, George?
FRED:
But we used to hear their
voices, Mrs Willoughby! There used to
be a terrific shindy across that green
by the church.
JACK: You wait till Cliff's kids get
going
at our place tonight mate.
You'll "Be dreaming of deserted villages
then.
WILLOUGHBY (TO FRED)
The school
buildings are new, that's why. They've
got a wall fifteen feet high so the
noise don't penetrate. They've got
swimming, all sorts, down there. They
can do what they like! In fact; theytre
on holiday, and they still go down there.
FRED: Yes well I suppose there's the
positive side too. I can tell you
what does beat me though and that's the
vehicles you drive about in.


WILLOUGHBY:
Oh, our village cars!
FRED: Now suppose I'd decided to
drive over, wouldn't my jalopy look
eccentric? It's got doors to start
with. And it don't look as if it
wants to take off all the time.
CLIFF: Well you wouldn*t have got
it through mate.
FRED: Eh? Not past the arch you
mean?
CLIFF: That's right:
FRED: What; you mean you never get
another vehicle in?
CLIFF: Well, the delivery trucks :
But aside from that not much C omes in,
without a special permit that is, eh,
dad?
FRED: But What about your friends?
Suppose they want to slip over for an
evening's nag or a game of cards?
what happens then?
CLIFF: Well we usually meet them at
the gate and drive them in ourselves.
The point is this, the village is
streamlined, it's cut right down to its
essentials, and if we had all the
vehicles under the sun---
JACK: And then the sightseers! We've
had them, eh, George, in their hundreds?
CLIFF: You can't stop people walking
over but you can limit the cars. At
one time I can remember a hundred or
more cars parked outs ide here, you
couldn't move, as for driving in or
out you'd had it.
FRED: Yes I suppose you couldn't
function really; not if you didn't. have
some kind of bar.
CLIFF; Then they'd s tart breaking
down, and being the only garage in the
village it'd all fall on me.. I've
got as much as I can do coping with
this lot, let alone cars from outside.
LIL: I can see what Fred means
though. We used to be more of a
family----I don't suppose we have a
sit-down like this more than once or
twice in a. twelvemonth, eh, Mr Willough-
JACK:
There's no time, to start wi thi


FRED: But surely to God y ou have
holidays?
CLIFF : Oh they send us off for a
month or a couple of weeks, everything
paid.
FRED: 'They'? Who's 'they'?
CLIFF: Well, I mean we're organised
right up to the hilt, down to the hotel
b ookings and all, and....
HE STOPS, WITH EVERYONE'S EYES ON HIM.
GEORGE: Got another' cup of tea there
Lil?
ALL EXCEPT FRED SEEM TO TAKE GEORGE'S
INTERJECTION AS A REPROOF.
GEORGE HOLDS OUT HIS CUP AND SAUCER
WHILE LIL POURS. THE OPERATION IS
DONE IN SILENCE.
CU OF FRED GAZING ACROSS AT GEORGE:
FRED: You always been in the post
office line George?
KACK: No; he only s tarted up, when
was it George, a couple or three years
ago?
GEORGE, STIRRING HIS TEA, NODS GENIALLY.
FRED: And do you like it here.George?
MABEL: He's on the go so much I don't
suppose he gets time to ask hisself,
eh George?
GEORGE NODS AGAIN.
FRED (LEANING FORWARD) But George,
what made you come here?
GEORGE (IN SOME CO NFUSION) Well I
just come.
FRED: Oh!
CLIFF (GETTING UP) I'll take you
acros S to Doreen's,Fred, she'll be
dying to see you. She asked me
specially.
JACK (ALSO GETTING UP) Well I'll
have to push back. We're inactive
but the animals ain't 9 I always say!
(TO WILLOUGHBY) Wouldn't it be nice
if animals stopped producing muck
for just an hour, to give us a re st?


WILLOUGHBY (RESPONDING WITH AS MUCH
GOOD CHEER AS HE CAN MANAGE)
That's
right!
FRED: But: you mean you come with the
CLIFF (GRABBING HIM) Come on mate:
FRED GETS UP RELUCTANTLY AND IS MORE
OR LESS PROPELLED OUT BY-CLIFF'S ARM
AND THE COLLECTIVE WILL OF THE GUESTS.
THEY HAVE ALL RISEN NOW AND CROWD
TOWARDS THE LIVING ROOM, TRYING TO
MAKE IT SEEM THE NATURAL END OF ANOTHER
TEA PARTY. GEORGE'S GENIAL EXPRESSION
IS SETTLED AGAIN AND HE FOLLOWS BEHIND
THEM AT A DISTANCE.
CUT TO FRED AND CLIFF LEAVING THE HOUSE.
FRED: But What's the matter with him?
He needs a good' talking to if you 'ask
mel Damn cheek; sitting there soaking
up the tea like a bloody sponge and not
daying a word----
CLIFF (PULLING HIM DOIN THE GARDEN PATH)
Come on Fred, don't be a chump. He's
a lovely man when you get to know him.
FRED: And how long does that take,
for Christ sake?
CLIFF HAS GOT HIM OUT INTO THE LANE
AND WITH A RELIEVED GLANCE BACK SEES
THAT NO ONE IS BEHIND THEH.
CLIFF: Blimey, you haven't changed
have you? No wonder we used to call
you the firelighter:
FRED (WITH GLANCES BACK) Bloody
CLIFF TURNS IN AT THE NEXT GARDEN GATE.
CLIFF (WAITING FOR HIM) She's made
the garden nice, hasn 't she?
FRED GIVES THE GARDEN A MENACING
GLANCE AS IF EVERY FLOWER WERE A
GEORGE. CLIFF KNOCKS AT THE DOOR
AND ALMOST AT ONCE DOREEN, IN A WHITE
BLOUSE ALL PLEATS, HANDSOME IN A WAY
NO LONGER IN TENDED FOR MALE LOVE,
OPENS THE DOOR WITH A SERENE SMILE.
DOREEN: Welli
FRED: Hullo Doreen I Nice to see
you again:


DOREEN: Come in, Fred.
FRED (AS THEY GO IN) Well, you've
made this place nice!
CUT TO THEM ENTERING THE LOW CEILINGED
FRONT SITTING ROOM. HERE IS QUITE A
DIFFERENT STYLE FROM THE OTHER TIO
HOUSES---BOOKSHELVES, A FOLDING RACK
FOR MAGAZINES ON THE FLOOR, POUFS AND
MUCH WELL POLISHED COPPER, IN FACT THE
ATMOSPHERE OF A NICE COUNTRY TEA ROOM.
FRED: You took the chimney away then?
DOREEN: : Oh yes.
FRED (TO CLIFF) Damn great inglenook,
remember?
CLIFF:
Used to make lovely fires too.
DOREEN: We had cobbles on the floor
then. It didn't matter clomping in
and. out with logs.
FRED: Times are- different now eh?
DOREEN: Sit down Fred: I can't offer
you a cup of tea because you've. just
had one. Is there anything else I can
get you?
FRED (SITTING DOWN) Just tell me your
news Doreen. That's all the entertain-
ment I want.
DOREEN (WITH A HESITANT ELANCE AT CLIFF,
WHO HOVERS AT THE DOOR)
Well I don't
have all that exciting a life!
FRED:
But I hear you're a schools
inspector, Doreen.
DORREN.:. That's right.
CLIFF: I think I'll push back to
Work now Fred. See you later.
Oh---where you kipping down tonight?
FRED:
Oh I'll find somewhere don't
you. worry, I used to live here,
remember (WITH A WINK AT DOREEN).
CLIFF:
OK then, see you later.
DOREEN: Cheerio Cliff.
CLIFF LEAVES.
FRED: I'll kip down at Mrs Harris's.
I hear old Mansfield don't let rooms
any more.


DOREEN:
That's right. But Mrs
Harris is dead.
FRED: Go on:
DOREEN: She was taken bad last January
year. Double pneumonia. And then
she didn't let rooms, not for a long
time. Not since you all went away.
FRED: Go on? Yes, it's all changed.
Well, how do you feei about it all
Doreen?
DOREEN: In waht way?
FRED: Well I mean it seems so cut
off now, if you see what I meani
And these blinking cars with no doors 1
Have you got one too?
DOREEN: Oh yes: They're very
convenient for the muddy paths.
FRED: Still youre not going up and
down muddy paths all the time.
DOREEN : And how have you been keeping
Fred?
FRED:
Well, you know, I'm not so sorry
I left: It was a jolt at the time
but, well, sometimes we need a jolt
don't we?
DOREEN: Have you got a nice place
over there?
FRED: Three large bedrooms upstairs,
anyway.
DOREEN: Oh that's nice!
FRED: And that's not too many consid-
ering I've got three boys now,
DOREEN: Yes, so Cliff was telling me.
It seems marvellous! I'd love to see
themt
FRED: Rachel thought she'd get the
house straight, so she didn't come over
this tim.
DOREEN: Rachel...
We used to sit by
each other at school:
FRED: So you did! I'd forgotten thpat.
DOREEN: I suppose I wasn't meant to
have children.


FRED: Well it isn't all roses.
I reckon if Rachel could see you
sitting here she'd feel a bit of envy:
No, straight.
DOREEN: In a way I suppose I've got:
lots.of children.
Three or four hun-
dred: It's a responsibility.
FRED: You've changed Doreen. Itis
the first thing I noticed coming through
that. door: You've lost that timid
look. You don't mind me saying: that
do you?
DOREEN: Oh no. I'm well aware I
was timidi Because I felt I didn't
belong anywhere, I suppose. And then
I found the right job. I think I'm
happy.
FRED: You look. it: Which is more
than I can say for the rest of them.
Ad for old Cliff, I reckon all the
fight's gone out of him. of course
they all talk cheery, but I can see
under the surface all right. And as
for that bloke with the everlasting
grin---- (LEANING FORWARD AND SPEAKING
IN A LOWER VOICE) where the hell did
he spring from?
DOREEN: Who's that?
FRED:
The talkative one. The bloke
who only opens his mouth to pour. tea
down it.
DOREEN:
But what's his name?
FRED: George: George!
DOREEN: Oh George.
FRED:
Talk about brazen-faced:
I wish I had the neck to sit and wolf
down other people's food and never
give them so much as how are you:
DOREEN: Oh well, we re used to him
I suppose (WITH A DELIBERATELY SLOW
LOOK RCUND AT THE WINDOW). He's
shy I dare say.
FRED: He's not too shy to get three
sandwiches.in to everybody else's one;
anyway!
DOREEN (LAUGHING) Well hets shy and
hungry thent
FRED: Yes, I suppose he must be:
Oh well, these villages have their set


ways, don't they? I expect I mus t
have looked a bit funny to anybody
coming from the outside. I mean It's
a closed life in mamy ways, isn't it?
DOREEN:
It's not so bad. Whem the
weather's nasty it's a bit sad some-
times.
FRED: Do you ever walk by where we
used to live, Doreen?
DOREEN: Down by the Castle?
FRED:
That's right.
DOREEN : I pass. it sometimes. Those
days seem a long way off. I expect
they do for you; even more so.
FRED: I was surprised you didm 't
marry, Doreen, when Cliff told me
just now:
DOREEN* Well when the village altered
and I was on the list of permitted
residents I---well, (WITH A CONFUSED
LAUGH) there wasn't a man my age
available, that's all there is to iti
FRED: But you should have moved!
You still can! See a bit of life!
DOREEN: But I was on the.list!
FRED; What do you mean; they didn't
force you to stayi Did they?
DOREEN: Oh well, it was convenient,
my mother left me this house and I
had nowhere else to go, I didn't have
the diploma then. And I couldn't
see myself stitching chair covers as
a living, not anywhere else.
FRED: Well all I can say is a bolshie
type like me couldn't have stood it.
Them vehicles for a start. They're
military, with the teeth drawni Them
wings are for guns, you can't kid met
Still, if ya: u don't ask questions you
don't get t no lies, I SE ppose.
DOREEN: Would you like to see the
garden Fred?
FRED: Yes, may be we'll see some
fairies (AS SHE GETS UP) or an anti-
tank gun poking its head up.
DOREEN : Please, Fredi


FRED: But what's the matter with
you.all? Can't.you talk? Aren't
you free any more?
HER GAZE IS sO IMPLORING, HER GLANCE
TOWARDS THE WINDOW so FRIGHTENED, THAT
HE ST TOPS.
FRED (WHISPERING) But what's the
trouble?
DOREEN:
Let's go in the garden -
CUT TO GARDEN AND WAIT FOR THEM TO
COME OUT THROUGH THE KITCHENETTE
FRENCH WINDOVIS. THE GARDEN IS CARE-
FULLY ORNAMENTAL, WITH A ROCKERY AND
SHALLOW GOLDFISH POOL..
FRED (LOOKING AT IT ALL) Well, an
expert's been at work here, no doubt
about thati
DOREEN: : It's my evening occupation.
(BACKTRACK AS THEY WALK DOWN THE
GARDEN PATH) Pride of my life really.
Apart from the children. And they
change all the time: This doesn't.
Look at that.
SHE POINTS ACROSS COUNTRY: A SHOT OF
THE SERENE HILLS BEYOND THE GARDEN.
DOREEN:
Isn't that a good reason to
stay?
FRED: Oh, we've got views as good as
that, down where we live. And free-
dom too.
DOREEN: But don't you think it's :
peaceful here, the house and everything?
FRED: It wouldn't be peaceful for me,
duck: My mind'd be working night and
day.
A SLOW FADE ON FRED IN CLOSE UP AS HE
GAZES ACROSS THE COUNTRYSIDE.
OPIN AGAIN IN a JACK'S LIVING ROOM
THAT EVENING. THERE ARE JACK, CLIFF
AND FRED, WITH DRINKS. THREE CHIL-
DREN ARE PLAYING OUTSIDE IN THE YARD
WITH THE MAXIMUM NOISE. A BALL
THUMPS ON THE WALL.
CLIFF (DASHING TO THE WINDOW) Now
just you watch out, you'll be putting
that ball through the window if you're
not careful. Blighters!
HE TURNS BACK INTO THE ROOM, WITH A
HELPLESS SHRUG TOWARDS FRED, AS AE


OF THE CHILDREN PUTS HIS FACE IN AT
THE OPEN WINDOW AND IMITATES CLIFF---
'YOU'LL BE PUTTING THAT BALL THROUGH
THE WINDOW IF YOU'RE NOT CAREFUL.'
JACK: Now flip offi
CLIFF (SUBSIDING INTO HIS SEAT AND
GRESPING HIS DRINK AGAIN) I don't
know, they don't seem to learn.
JACK: You haven't gotnoontrol mate.
(SHOWING HIM THE PALM OF HIS HAND)
This is what they want to learn.
That's what you learned when you was
a kid. It's a pretty subs tantial
method (WITH A WINK AT FRED AND A
CHUCKLE).
CLIFF: You want to tell Lil that.
Every time I raise my hand she goes
berserk.
JACK: She could learn a bit of the.
same thing, it strikes me.
CLIFF: Oh it might have been all
right in your day: But---oh well,
I suppose we.haven't got the authority
eh Fred?
FRED: Well to be quite candid I've
never raised a hand at my lot. I
leave that side to Rachel. The thing
is, they're going to have a pretty
rough life, that's what I reckon;
JACK: Rough life?
They don't know
what a rough life ist Ever you two
don'ti
FRED: Well that depends how you look
don't it? Life's not mapped
out iti clear like it used to be,
Jack.
JACK: It's clear enough to me * All
I know is I've got three times the
turnover I used to have, and I worked
my hands to the knuckl eebones for it
too.
CLIFF: Take car-servicing. I
remember the old blacky, he used to have
his nose stuck in a cylinder block. for
a week nor more, and nobody used to
worry; leastways him. I've got
vehicles coming in as the others go
out,
JACK: But look at your money& And
then think of his, if you can be ar it:


CLIFF: He had a damn sight. bigger
paunch than I've got! And he didn't
go grey with Worry:
JACK: Oh, worry. That comes in with
the damp air at night, mate. Close
your windows (WITH ANOTHER WINK AT
CLIFF: If Id don't get a quota of'
vehicles out of my shop every week,
I lose my
that's what I've got
to worry asont. We're allon a
tightrope. I bet old Fred's the
same!
FRED: Well I don't worry about my
job: I just worry, generally.
JACK: There you.are! That's just iti
FRED: Listen, I never worried before.
How do you make that out?
JACK: You didn't have the responsibil-
ities. (TO CLIFF) And. who's going
to sack you? even if you don't meet
the quota?
CLIFF: It's the C ompetition, the--- i
A BALL LANDS WITH A DANGEROUS SOUNDING
THUMP ON THE WALL AGAIN. CLIFF IS
ABOUT TO JUMP UP BUT JACK IS AT THE
WINDOW FIRST.
JACK: Come here you!
A PAUSE WHILE,ONE OF THE CHILDREN
COMES TO THE WINDOW, -
JACK:
Does your ear 'urt?
BOY: No.
JACK: WTell it will now:
HE REACHES OUT FOR THE EAR AND TWISTS
IT. THERE ARE HOWLS OF PAIN.
JACK (RELEASING THE EAR) Now, flip off
the lot of you! Round the back of
that barn, quick!
HE RETURNS TO HIS CHAIR.
JACK (WITH A JUDICIAL NOD TO FRED)
He learnéd What a thick ear is all
right.
THE CHILD APPEARS IMPLACABLY AT THE
WINDOW AND REPEATS 'HE LEARNED WHAT
A THICK EAR IS ALL RIGHT' IN SUCH A


PERFECT IMITATION THAT THEY ALL
LAUGH.
CLIFF: That's just it, you see.
They're so damned-quick. You come
home tired and their little'minds
are waiting for you. Perhaps we're
the mugs. I look round the village
somet times-
You see; Fred, the
kids know. They can see we're not'
our own masters any more; we're-----I
A RING AT THE DOORBELL.
SILENCE.
JACK (GETTING UP SLOWLY)
That'll be
George.
FRED:
Is George one of the guests
tohight-then?
LIL (FROM THE HALL)
It's all right,
I'll gol
JACK SUBSIDES IN HIS SEAT AGAIN.
CLIFF (TO FRED) Notice the kids?
You Won't hear a whisper out of them
any more, not till we go home.
FRED (LEANING FORWARD) Why, then,
CLIFF LOOKS ROUND AT THE DOOR AT THE
MOMENT GEORGE COMES IN.
CLIFF: Hullo George. 4
GEORGE: Hullo all. Hullo Fred.
FRED: Hullo.
JACK: Sit yourself down, George.
Usual chair, that's right. Get him
a drink, Cliff.
CLIFF: Will you have a-glass of beer
George?
GEORGE: Yes please:
CLIFF GOES OUT AND THE THREE. OF THEN
SIT IN SILENCE:
CUT TO: THE KITCHEN AS CLIFF WALKS IN.
MABEL AND LIL ARE IN APRONS, PREPARING
GENEROUS FARMHOUSE FARE IN LOTS OF
STEAM. CLIFF GOES TO THE FRIDGE AND
TAKES OUT A BOTTLE OF BEER.
MABEL: Where's Fred staying the night
then?
CLIFF: He didn't say.


HE UNSTOPS THE BOTTLE AND POURS.
MABEL: He's still got his case here,
and his fishing tackle.
CLIFF: We've got all them empty rooms
upstairs and----I
MABEL: * Well that's how it isi We
didn 't make the rules round here, did
CLIFF; I suppose he'd better stay
at Mrs Harris's. I'll try and work
the conversation round. (GOING OUT)
I don't know; I've got enough to think
about.let.alone lodgings!
LIL: Oh go on!
CLIFF (COMING BACK) Them kids have
been playing hell too.
HE LEAVES AGAIN a MABEL GOES ON
VIGOROUSLY MASHING POTATOES.
CUT BACK TO THE LIVING ROOM, OM
GEORGE, HIS GLASS OF BEER TIPPED BACK
IN THE C OURSE OF BEING DRUNK. HE
LOWERS IT WITH THREE QUARTERS OF THE
LIQUID CONSUMED, AND SMACKS HIS LIPS.
CLIFF: Pity old Mansfield don't let
rooms no more Fred.
FRED: Just what I was thinking.
And old Mrs Harris is no more, Doreen
was telling me.
CLIFF: Her place is still going
though. Bed and breakfast like.
FRED:
Oh? New management, then?
CLIFF:
That's right.
FRED: Oh well, I'll kip down there
then. As long as Jack hasn't stolen
my suitcase.
JACK: Well, I only took the valuables.
CLIFF: Give us your glass Fred and
I'll top it up with sour milk:
GEORGE FINISHES HIS DRINK ADROITLY.
FRED (HANDING CLIFF HIS GLASS) Number
of times we used to say that, eh?
Top it up with sour milk. I don't
think I've used that expression since.
CLIFF: You ready George?


HE TAKES GEORGE'S GLASS AND THEN
JACK'S AND HE LEAVES AGAIN.
JACK: Yes we still call it Mrs
Harris's. Nice clean rooms .
A SLOW FADE.
OPEN AGAIN ON THE FRONT DOOR OF, THE
HOUSE, FROM ACROSS THE COURTYARD,
AFTER DARK. THE DOOR OPENS AND
SHEDS A STRIP OF LIGHT ACROSS THE
YARD.
TWO VEHICLES OF THE USUAL
VILLAGE DESIGN ARE WAITING, AND
CLIFF WALKS TOWARDS ONE. OF THEM AS
THE OTHER GUESTS AND THE THREE CHIL-
DREN (AS GOOD AS GOLD NOW) STAND IN
THE LIGHT FROM THE DOOR SAYING AND
KISSING GOOD NIGHT. FRED COMES OUT
WITH HIS SUITCASE AND FISHING A CKLE.
FRED: Well, thanks for a greedy
evening, you two!
JACK: How was the mea t pud. Fred?
FRED: : Don't talk about it, I want to
keep it as a lovely memory:
CLIFF (REFERRING TO FRED'S FISHING
TACKLE) Looks as if we're going to
get fish for tomorrow's dinner!
FRED : You hope!
MABEL: Good night Fred. See you
in the morning.
CLIFF (TO JACK) I'll take Fred and
George then.
JACK: That's right.
THE CHILDREN AND LIL BEGIN PILING INTO
THE SECOND VEHICLE (JACK'S). FRED
AND GEORGE GET INTO THE FIRST, WITH
CLIFF: AT THE WHEEL.
CUT TO THE FIRST VEHICLE.
CLIFF:
I'll. take you to Mrs Harris's
then.
FRED : That's it.
LIGHTS ARE SWITCHED aN AS WE CUT TO:
THE YARD: BOTH VEHICLES DRIVE OFF,
THE CHILDREN WAVING. MABEL IS LEFT
ALONE AT THE DOOR. THEN SHE CLOSES
IT AND THE YARD IS ONCE MORE IN DARK-
NESS.
CUT TO THE TWO VEHICLES ENTERING THE


VILLAGE.
CUT TO CLIFF'S VEHICLE ARRIVING OUTSIDE
A TALL VICTORIAN HOUSE BEHIND TREES.
CUT TO THE INTERIOR OF THE CAR AS
CLIFF SWITCHES OFF THE ENGINE. THEY
SIT FOR A MOMENT GAZING OUT.
FRED: This hasn't changed ther. :
CLIFF: Remember how people used to
come here for their holddays, and we
used to wait for the girla after tea?
(TO GEORGE)
They used to come here
for the old Castle. Famous, wasn't
S Fred?
FRED:
That's right.
CLIFF: Well Fred, you've got George
to show you the works. So I'll leave
you to it.
FRED: George?
CLIFF: That's right. He runs the
place.
FRED: What, this place?
CLIFF: That's right:
FRED: Oh!
FRED MAKES NO ATTEMPT TO"GET OUT i
ALTHOUGH GEORGE'S GETTING OUT FROM THE
BACK DEPENDS ON HIM.
FRED: Looks a bit dark, don't it?
Did you say they do bed and breakfast?
CLIFF: That's right. All - the comm-
ercial travellers stay there, eh,
George? How many people did you tell
me was staying here a fortnight ago?
GEORGE: I had nineteen singles.
FRED: And they all came out alive
did they? Oh well, here goes. (GETTING
OUT, BACK IN HIS OBSTREPEROUS MOOD)
If you don't see me in the morning
Cliff let Rachel know, tell her I
prefer cremation will you?
CLIFF (LAUGHING DESPITE HIMSELF) You'll
be all right mate. George knows how
to lay things on, don't you worry about
that!
GEORGE GETS OUT AFTER FRED HAS EX-


TRICATED HIS SUITCASE ANE FISHING
TACKLE.
CLIFF: Well good night Fred! Good
night George!
FRED: Good nighti
THE CAR DRIVES OFF AND THE TWO OF THEM
ARE LEFT STANDING THERE IN THE DARK-
NESS. GEORGE OFFERS TO TAKE FRED'S
SUITCASE.
FRED: No that's all right:
BUT GEORGE PERSISTS AND TAKES IT,
THEN PUSHES OPEN THE GATE INTO THE
FRONT GARDEN. FRED FOLLOWS HIM UP
THE PATH WITH HIS FISHING TACKLE.
CUT TO THE FRONT DOOR WHERE GEORGE IS
FUMBLING FOR THE RIGHT KEY AMONG A
CHAIN FULL. THEN THE DOOR IS OPEN
AND GEORGE HAS SWITCHED ON THE HALL
LIGHT.
CUT TO THEM ENTERING THE LOUNGE,
A GENEROUSLY COMFORTABLE AND ABOVE ALL
UP TO DATE ROOM.
FRED: Lumme! this. is nice!
GEORGE BEAMS AT HIM AND WITH A PROFESS-
IONAL GESTURE MOTIONS HIM TO ONE OF THE
ARMCHAIRS.
FRED: Oh thanks. Let me----
GEORGE (KEEPING THE SUITCASE FIRMLY)
Would you like a nightcap? cuppa cocoa
whisky glass of milk?
FRED: Well, I wouldn't mind taking a
cup of tea up to bed with me if it isn't
too much trouble. These old rituals,
you know. I do it every night. The
wife says it keeps me awake but I
never noticed it----1
BUT GEORGE HAS DISAPPEARED, WITH BOTH
THE SUITCASE AND THE FISHING TACKIE,
AND FRED IS LEFT TH ADMIRE THE FITTINGS
FROM HIS SOFT DEEP SEAT. HE GAZES
ROUND; FROM THE CEILING HANGS A
COMPLICATED MOBILE AND HE BEGINS BLOW-
ING AT IT. IT MOVES AND THEN DEVELOPS
A PLEASANT MOMENTUM.
MIX THROUGH TO GEORGE EMERGING FROM A
CAVERNOUS BUT GLEAMINGLY MODERN KITCHEN
WITH A TRAY OF TEA THINGS. HE GOES


TO THE LOUNGE DOOR AND FRED IS STILL
WATCHING THE MOBILE TURN.
GEORGE:
I'm taking your tea up now d
FRED: Listen, don't you bother, I can
take that tray up---
BUT GEORGE IS. ALREADY ON HIS WAY.
TRACK BEHIND AS FRED FOLLOWS HIM UP
THE STAIRS. HE TAKES IN THE PICTURES
ON THE WALL, THE NEW WALLPAPER, THE
THICK STAIR CARPETING, AS HE, WALKS UP.
CUT TO HIM ENTERING HIS ROOM. GEORGE
IS JUST PUTTING THE TRAY ON THE TABLE
BY THE DOUBLE BED: EVERYTHING IN THIS
ROOM TOO ARGUES QUIET UNSPARING COMFORT.
FRED (SURVEYING IT ALL) Well, I don't
think I'll have trouble sleeping to-
night!
GEORGE:
The bathroom's down the
corridor left hand s ide hanging light
switch hot and cold water. Would you
like coffee or tea for breakfast?
FRED: Well coffee'd do me fine.
GEORGE: Good night Fred.
FRED: Good night George,
THE DOOR CLOSES BEHIND GEORGE, AND
RRED GOES TO HIS SUITCASE. HE FINDS
IT EMPTY AND ON INVESTIGATING FROM
WARDROBE TO CHEST OF DRAWERS DISC OVERS
THAT ALL HIS THINGS HAVE BEEN PUT AWAY
NEATLY. TWO BOOKS HAVE BEEN SET BY
HIS BED AND HE F INGERS THROUGH THEM.
AHD THEN HE LOOSENS HIS TIE:
CUT TO HIM IN BED SIPPING HIS TEA,
WITH A BOOK OPEN BEFORE HIM. WHÂT
SOFT PILLONS. HE YAWNS AND AF TER
CLOSING HIS BOOK IS ABOUT TO SWITCH
OFF THE BEBSIDE LIGHT WHEN HE LOOKS
ROUND AT THE DOOR AND DECIDES TD GET
OUT OF BED AND LOCK IT. HE DOES THE
OPERATION WITHOUT A SOUND, TURNING THE
KEY TWICE. THEN AS HE SÉTTLES BACK
INTO BED A SLOW FADE.
OPEN AGAIN ON THE LOUNGE DOWNSTAIRS
NEXT MORNING WITH THE SUN STREAMING
THROUGH THE WINDOWS AND A ROUND TABLE
LAID WITH BREAKFAST THINGS FOR CNE AND
A CHOICE OF TWO NEWSPAPERS.
WAIT FOR FRED TO EN TER, CLEANSHAVEN


AND FRESH. HE LOOKS ROUND,
GOES .TO THE WINDOW, WHISTLES SILENTLY,
SEES THE TABLE LAID FOR HIM AND GOES
TO IT. HE TAKES A PAPER, OPENS IT
AND IS HIDDEN BY IT. HE LOWERS IT
AND PEEPS OVER IT TOWARDS THE DOOR
FOR SIGNS OF LIFE.
CUT TO GEORGE EMERGING FROM THE KITCHEN
WITH A TRAY. A WARMING LID SITS CN
THE PLATE AND THERE IS TOAST IN A RACK
AND VARIOUS OTHER DISHES.
TRACK
BEHIND HIM THROUGH DOORWAY TO FRED'S
EYES PEERING OVER THE NEWSPAPER.
FRED: Good morning George! Lovely
day.again!
GEORGE: Morning Fred:
(UNLOADING
THE TRÀY) Coffee toast marmalade.
(WHIPPING THE TOP OFF THE PLATE) I
don't know if you go in for a grilled
breakfast.
FRED: I'll say I dos You wait until
I tell: my. wife about this, she'll be
green with envy. I don't think I
moved all night (TAKING HIS NAPKIN-- - -
A REAL ONE---AND UNWRAPPING IT), sank
down in the land of: dreams and surfaced
half an hour ago---
BUT GEORGE HAS GONE AND THE PLACE IS
ONCE MORE IN SILENCE. FRED BEGINS
EATING WITH RAVENOUS ATTENTION TO
DETAILS---BUTTERING TOAST, POURING
COFFEE, PEPPERING THE YOKES OF HIS EGGS.
A QUICK FADE.
OPEN AGAIN ON THE HALL OUTSIDE AND WAIT
FOR FRED TO COME DOWN THE STAIRS WITH
HIS FISHING TACKLE: HE STOPS AT THE
FOOT OF THE STAIRS.
FRED: I'll be off George!
HE WAITS FOR A REPLY BUT THERE IS NONE.
FRED: Georgel
AGAIN NO REPLY so HE WALKS HESITANTLY
TOWARDS THE KITCHEN AND PEEPS IN. A
SHOT OF THE CARVERNOUS ROOM SHOWS IT
EMPTY, EVEN OF DIRTY PLATES.
FRED: Georgel
THIS TIME HE GIVES UP AND WE TRACK
BEHIND HIM TO THE FRCNT DOOR.
CUT TO HIM WALKING ALONG THE SUNNY
DESERTED VILLAGE STREET. A CLOSE UP
SHOWS HIM IN A SERENE MOOD, EXPECTANT


OF PLEASURE. AT THE END OF THE
VILLAGE HE TAKES A. TRACK BETWEEN TREES,
CLEARLY KNOWING HIS WAY. TRACK BEHIND
HIM AND ON A DOWNWARD PATH: HE PLUCKS
OFF LEAVES FROM THE TREES, TAKES A
SUDDEN SLOPE AT A RUN, PERHAPS AS HE
USED TO FIFTEEN OR TWENTY YEARS BEFORE.
CUT TO THE EDGE OF THE WOODS AND WAIT
FOR HIM TO EMERGE FROM BETWEEN THE TREES,
COMING DOHVHILL AT A SPRIGHTLY PACE.
WAIT FOR HIM TO COME INTO CLOSE UP.
AND THEN HE STOPS DEAD, STARING BEFORE
HIM, HIS MOUTH OPEN.
FRED: Herel
HE IS GAZING SLIGHTLY UPWARDS. A SHOT
OF THE VIEW BEFORE HIM SHOWS A CLEAR-
ING, A NEAT AREA OF CEMENT FLOORING
WITH NOTHING ON IT, CERTAINLY NO CASTLE.
ONLY CLEAR COUNTRYSIDE BEYOND:
FRED (BEGINNING BUT NOT ENDING SEVERAL
ASTONISHED SEN: TEICES WHICH SOUND ALL
BREATH) Well I'll be bu----. Well
l00----. God love a-
HE WALKS ON, HIS SPRIGHTLINESS GONE,
SEARCHING THE GROUND. HE COMES TO
THE FOOT OF THE DIP, AND A CLOSE UP
SHOWS HIM GAZING DOWN AT WHAT USED TO
BE THE
A NEAT CEMENT DITCH AS
STRAIGHT RIEA AS DIE WLTH THE MEREST TRICKLE
OF WATER. HE DIPS HIS FINGERS IN
AND WATCHES A DROP FALL OFF THEM.
HE SITS DOWN, PUXZLED AND DEJECTED,
GAZING AT THÉ CEMENT CLEARING BEFORE
HIM, AND THEN HE LIES BACK, HIS HANDS
BEHIND HIS HEAD.
CUT TO HIM STIRRING HIMSELF AND RETURN-
ING TO WHERE HE HAS LEFT HIS FISHING
TACKLE. HE BEGINS TO RETURN UPHILL
THE WAY HE CAME, WITH SLOWER STEPS NOW,
MIX THROUGH TO HIM EMERGING FROM THE
WOODS ON TO THE VILLAGE ROAD AGAIN,
SWEA TING, WITH NONE OF THE SERENITY
THAT MARKED HIS FACE BEFORE:
CUT TO CLIFF'S GARAGE-- --THE SOUND OF
SPRAYING AND HAMMERING, A CLUSTER OF
IKENTICAL VEHICLES:
THEN A SHOT FROM INSIDE THE GARAGE
THROUGH THE VEHICLES TO THE WIDE SUNLIT
ENTRANCE. FRED APPEARS IN IT, WITH
FISHING TACKLE? SWEATING.
CUT TO HIM AND TRACK WITH HIM BETWEEN
THE VEHICLES, UNTIL. WE REACH A LONG


PAIR OF LEGS PROTRUDING FROM A
VEHICLE.
FRED (STOPPING) Cliff.
A SHOT OF THE LEGS AGAIN.3 THEY
SHOW SIGNS OF COMING TO LIFE, AND
BEGIN WRIGGLING, UNTIL FINALLY CLIFF,
GREASY AND ALSO SWEATING? HAS EMERGED.
CLIFF (STANDING UP)
what's the matter
mate?
FRED:
The Castle: It's gone! And
my place too,, the old cottage---it's
gone!
CLIFF: Eh?
. FRED: The castle's gone! It isn't
there! And what's happened to the
blinking river? That's gone too!
CLIFF: Eh?
FRED (STUDYING HIM WITH IMPATIENCE)
Didn't you get any of it?
CLIFF:
The old Castle you say?
FRED:
It's gone !
CLIFF: Well the old Castle was took
down.
FRED: Took down? Blimey Who took
that down?
CLIFF: The contrac tors. When they
come and did the place up like.
FRED: Did it up? Is that What you
call it? And here's me yesterday
talking ab.out the old Castle and
nobody puts me wise!
Talk about a
rum blinking lot!
CLIFF: I didn't hear you talk about
no castle,
FRED: What, not about me doing a bit
of fishing and your dad saying yes he
noticed the fishing tackle?
CLIFF: Fishing yes but---
FRED: But Where the hell do you
fish? They've taken the river away!
CLIFF: They diverted it Fred! It
was clogging somewhere I think--


FRED: Clogging? A river don't
clog! It flows!
CLIFF: Something about industrial
refuse.
FRED: Then why didn't you tell me
yesterday? Blimey, somet times I think
I'm being made a fool of round here!
They all watch me walking round with
yards of bloody fishing tackle, and
there's no river to fish in! And
none of 'em says a blime word.
CLIFF: Well the river's still there
like, they only diverted the bed.
FRED: And where did they divert the
bed to?
CLIFF:
Oh it's about ten mile down.
FRED:
Ten mile! And nobody tells
me I've got a ten-mile walk!
CLIFF: I thought you'd fixed it up
with George like,
FRED: George be damned! Oh never
mind. I'll fish when I get back home.
We've got an artificial lake there.
CLIFF: I could drive you down to
where the river moved to, Fred. No
sooner said than done (PICKING HIMSELF
UP OFF THE FLOOR, THENS TOPPING MIDWAY).
Oh of course you need a permit for
that. You have to go and see old
Willoughby, it might take a bit of time,
he has to send the application through---
FRED: No it's all right, mate, forget
it. Frozen fish is just as nice,
HE WALKS AWAY AND C-LIFF FOLLOWS HIM.
CLIFF:
This seems to be turning into
one.of your disappointing holidays mate.
FRED: Oh I enjoyed the walk. But
my old place not being there----I near-
ly fell over!
CLIFF: Yes that came down too.
FRED: : But what for?
CLIFF: Don't ask me :
FRED: But there's one thing. Old
George did me proud.


CLIFF (HAPPY AT THE CHANGE OF SUBJECT)
Oh he did?
FRED: Here, it don't cost a mint
does it?
CLIFF: No!
Travellers.' ra tes like.
FRED: Tea in bed, Books, hot bath,
carpets everywhere, and as for the
breakfast---you wait till old Rachel
hears about this, she'll want to come
over and lie in bed all day. (AS THEY
REACH THE ENTRANCE)
FRED LOOKS UP AND DOFN THE DESER' RTED
ROAD.
FRED:----What the hell's that cement
clearing they've put there?
CLIFF:
Where?
FRED: Well instead of the castle like.
CLIFF: Oh, I think it's just a base.
FRED: A base what for?
CLIFF SHRUGS. A QUICK FADE:
OPEN AGAIN ON THE ENTRANCE TO THE -
VILLAGE CONSTABULARY, THE SAME MORNING.
FRED WALKS IN.
CUT TO HIM TURNING INTO THE FIRST
ROOM, WHERE WILLOUGHBY IS SITTING AT
A SIMPLE DESK. IN POLICE. UNIFORM MINUS
THE JACKET.
FRED: Hullo Mr Willoughby.
WILLOUGHBY: Why hullo Fred.
(LOOKING
AT. HIM) Anything on your mind? -
FRED: No, I was just passing like.
WILLOUGHBY: Well sit down. (FRED
SITS) You've got your fishing tackle -
I see.
FRED: That's right:
WILLOUGHBY : Where did y ou mean to go
with it?
FRED: Well that's jus t it,you see.'
I wake up bright and early this morn-
WILLOUGHBY: You staying down along of
George?


FRED: That's right.
WILLOUGHY: And how's he treating
you?
FRED : Vell I don't think I've ever -
seen anything like it Nr Willoughby.
First of all the place is spotless
clean, and talk about amenities--
well I don't reckon any hotel could
come up to it anyhow. You ought to
have seen the breakfast he give me o
And not a sound. The way he pads
around. He makes a lovely cup of tea
too, I'm keen on my tea last thing,
Rachel always laughs at me, but I
don't like to put my head on that
pillow until I've had my cup of tea.
WILLOUGHBY: George is a wonderful
man Fred. There's nothing he wouldn't
do for us. All we do is give him the
signal that a bloke's OK, one of the
family like, and he'll put himself
out for you.
FRED: Why did they tear the old Castle
down Mr Willoughby?
WILLOUGHBY (STUDYING FRED AT HIS EASE)
WEll Fred, I won't say it's a delicate
question. But you know as wéll as I
do that we're top secret here,
FRED: Well I knew it was a restricted
area like. I mean you've got Military
Area written up----
WILLOUGHBY: We're not classed as
restricted. And as for that bit of old
boarding with Military Area written
across it, I don't know whose idea that
was but I never did think much of it.
First of all it isn't st trictly true.
And them it doesn't.keep people out,
which it was intended to do. But there
you are, they agree on these things
at the village meetings and there's
not much I can do about it:
FRED: It was agreed----in the village?
WILLOUGHBY: Oh yes.
FRED: So it needn't be there at all?
WILLOUGHBY: of course it needn't.
It's a damned show-off, between you
and me. Makes people like you think
they know .all about it when they don't.
FRED: Know all about what?


WILLOUGHBY: Well the whys and
wherefores of what happens. The
whys and wherefores of the old Castle
not being there, and that lovely old
river being diverted---
FRED: Yes that's What---
WILLOUGHBY: Oh we all know that the
old Castle had to come down, and the
old river had to be diverted, but we
didn*t know Why, I'm - told the river
Would have flooded us out twice or
three t imes by now 1f they hadn 't
shifted .it, due to industrial refuse
down the line, but as for the real
reas
ask me and I'll ask you,
and onatEn as far as we'll geti
FRED: Yes but----
WILLOUGHBY: You see, Fred, we have
to take the rough with the smooth.
We get free vehicles, petrol comes to
us at very reduced rates, but we're
restricted:
FRED: You get them free, them peculiar
cars? -
WILLOUGBY: Householders, yes. Mind
you, we pay for the upkeeps
FRED : Well I never.
WILLOUGHBY:
That's what I say, Fred,
when people give you a sound deal like
that you've got to play along.
FRED: Yes I suppose you have really.
HE GAZES BEFORE HIM. A SLOW FADE ON
HIS FACE IN CLOSE UP.
OPEN AGAIN ON THE LOUNGE OF MRS HARRIS'S
THAT EVENING. FRED HAS JUST FINISHED
A SPLENDID MEAL, TO JUDGE BY * THE WAY HE
IS STTTING SIDEWAYS FROM THE TABLE WITH
HIS LEGS CROSSED, AN AUTHENTIC, BELL-
BOTTOMED BRANDY GLASS IN HIS HAND,
BLOWING UP AT THE MOBILE THOUGHI LESS
STEADILY THAN THIS MORNING.
THE CLOCK STRIKES NINE, A COMFORTABLE,
WARM SUND FROM THE MANTELPIECE.
CUT TO THE DARK VILLAGE STREET: A
VILLAGE-VEHICLE BLAZES A WHITE TRAIL
DOWN IT AND COMES TO A HALT OUTSIDE
MRS HARRIS'S. WILLOUGHBY, FLASHING
DIMLY IN HIS UNI IFORM, WITH A BRIEFCASE
IN HIS HAND, GETS GUT AND WALKS DOWN


THE GARDEN PATH.
CUT BACK TO FRED SITTING THERE
SERENELY.
SUDDENLY THE DOORBELL
RINGS AND HE JUMPS FOR HIS LIFE.
THEN HE RECOMPOSES HIMSELF.
HE GETS UP AND GOES INTO THE HALL,
PEERS INTO THE KITCHEN AS HE DID THIS
MORNING AND AGAIN FINDS NO GEORGE,
ALTHOUGH ALL THE LIGHTS ARE aN.
THE DOORBELL RINGS AGAIN. so HE
DECIDES, NOT WITHOUT HESITATION, TO
ANSWER IT HIMSELF.
TRACK BEHIND HIM
AND HE OPENS THE DOOR TO REVEAL
WILLOUGEBY STANDING OUTSIDE.
WILLOUGHBY: Hullo Fred. Thought
I'd drop round.
FRED: You come to see me? In your
nob's gear too?
WILLOUGHBY: Just to get a few part-
iculars.
FRED: Oh. Well, come in. I'm just
finishing my supper.
WILLOUGHBY COMES INTO THE HALL:
WILLOUGHBY: Good cook, old George, i
FRED: I'll sayi I don't know how he
does it.
BACKTRACK AS THEY WALK TOWARDS THE
LOUNGE TALKING.
WILLOUGHBY: He did a course of CO urse,
Got determination tha t man.
CUT BACK TO THE LOUNGE WHERE WILLOUGHBY
SITS DOWN IN ONE OF THE ARMCHAIRS AND
OPENS HIS BRIEFCASE. FRED STUDIES HIM
AND WITH HIS EYES STILL ON HIM SITS
DOWN IN HIS OLD PLACE SLOWLY.
WILLOUGHBY: Now then. (PULLING OUT
PAPERS) What have we got here? Name,
birth, occupation---and all that bilge.
Well Fred. This is the usual form we
ask a visitor to sign. How long they're
going to stay etc:
FRED: I see.
WILLOUGHBY: Don't ask me the why and
the wherefore, because I can't tell yog.
And if anybody like your old friend


Cliff ven tures an opinion on the
subject, take it from me he don't know
what he's talking about. Now (RISING
AND TAKING THE PAPERS TO FRED) if
you'll fill these up---any time'll do,
just let me have them first thing
tomorrow morning.
FRED: Oh yès (GAZING AT THE FORMS).
But you know, I only come back to see
the old village, just to shake hands
like and get a bit of fishing in!
WILLOUGHBY: Well I don't see anything
wrong in that.
FRED: No but I mean what's it got to
do with filling in forms?
WILLOUGHBY (SITTING DOWN AGAIN COMFORT-
ABLY) Listen Fred. I just want to
put a few of of the facts of life:
Vhen they offered you compensation
you took it, didn't you?
FRED: Yes.
WILLOUGHBY: You bought a house on it
and you're very c amf ortable.
FRED: Yes,
WILLOUGHBY: Now suppose they'd have
wanted you to stay. Would you have
stayed?
FRED: Yes.
WILLOUGHBY: And if they'd signed over
the house you was in to you, as your
personal property, and done it up for
you free of charge, with washing machine
and hot and cold and central heating,
would you have accepted tha t?
FRED: Well yes I suppose I would
really. Why, did they do all that
for you?
WILLOUGHBY: Yes they did! And we
accepted it. Doreen Peck accepted
it. And in re turn for what they did
by way of repairs and installation and -
refitting 'the roof and tearing out the
floorboards that was eaten through vith
dry rot she took on a job----
FRED:
Oh, is that why she's a schools
inspector?
WILLOUGHBY:
You see, Fred, everything
fits---wheels in wheeis, and rough in


smooth. Now before my house was
turned into a little palace I never
had hardly a form to fill in from one
end of the year to the other. Now I
have. I have to keep a check on the
visitors we get. In a place that's
Top Secret, is that such a terrible
thing? Jus t signing your name and
giving your birth and stating how long
you want to stay. And on that buff
form underneath---
FRED PUTS HIS GLASSES ON FOR THIS,
WITH A LOUD CLICK OF THE GLASS-CASE.
HE FINDS THE BUFF FORM AND STUDIES IT.
WILLOUGHBY: That's right. Now on
that form you'll find various questions
like where do you work, are you on
holiday, your income tax group, trade
union and all that, and underneath
there's a declaration that you mean to
go back to your old job.
FRED: Well of cours e I do! Just
because I come back home for a week
doesn't mean I'm giving up my blinking
livelihood: What a lot of damned
rot!
WILLOUGHBY: Listen Fred. Just after
this village started settling down
again, we got a lot of visitors. They
all wanted jobs like ours, and houses
like ours. This village was clogged
with cars. Old Kansfield's pub was
booked up week in and week.out. We
thought they'd be arriving in chara-
bangs if it went on. That's Why we
clamped down on our OWn accord. That's
why we put this Military Area sign up,
although as I say I think it does more
harm than g ood.
FRED: Well I can tell you straight,
I wouldn't move from my job to this
place, not for love nor money, so -
there's no danger from me!
WILLOUGHBY: No but you see why we
like people to sign it?
FRED: : Oh yes.
WILLOUGHBY: We had to clamp down
Fred, You von'tbelieve it. but we
had 'em squatting---in the old Castle,
of all places--- -suatting, if you can
believe iti
FRED: Go on! Is that why they tore


it down, then, the old Castle?
WILLOUGHBY (WITH A TWINKLE) Well
just between you and me, tha t 'might
have had something to do with it.
I reckon the contractors might have
let it stand if We hadn't put in a
little W ord.
FRED: Well I never.
WILLOUGHBY: No, Fred, it isn't easy
being a model village; (GETTING UP)
Well Fred, what do you say to a drink
up at the Duck, now business is over?
FRED: As a matter of fact I told
Cliff I might be strolling up there
when I'd had a bite to eat.
WILLOUGHBY: :
'Bite'1
(AS HE PASSES
THE TABLE)
It looks like a banquet!
FRED'S ATTENTION IS ON ONE OF THE
FORMS.
FRED: Here---what does tha t stamp
mean?
WILLOUGHBY (PEERING) The st tamp?
Oh thatts PERSONA GRATA, 'Means you're
OK, youtre in, on the level, one of
the family! I ha ve to stamp all the
forms before they go out. But not
always the same stamp. Sometimes
(WITH A WINK) it's persona NON grata
and them they're out of town inside
two hours.
FRED (STILL LOOKING AT THE FORM)
GO ONI
PUSH IN FOR A SHOT OF THE FORM WITH
THE STAMP PERSAVA GRATA.
MIX THROUGH TO A SHOT OF THE DUCK
OUTSIDE: AN EFFICIENTLY LIGHTED
SIGN SHOWS A DUCK WAIDLING WITH A
LEAD ROUND ITS NECK. THE LANE IS
DESERTED AND THERE IS A DIM LIGHT
SHOWING THROUGH THE CURTAINS OF THE
PUB.
WAIT FOR WILLOUGHBY'S VEHICLE TO BLAZE
ITS WHITE WINGED TRAIL DOWN THE LANE
AND HALT OUTSIDE. HE AND FRED GIT
OUT: FRED STANDS LOOKING AT THE PUB
WITH PLEASURE.
FRED: : Same old sign I see.


WILLOUGHBY:
Oh we wouldn't have
that taken down,.
CUT TO THE INTERIOR OF THE DUCK WHICH
IS THE OPPOSITE OF ANY IDEA WE MIGHT
HAVE OF THE SNUG VILLAGE PUB. ITS
LINES ARE GENEROUS, WITH CONCEALED WALL
LIGHTING AND F ITTED CARPET AND ROUND-
BACKED CHAIRS AND A LONG SWEEPING BAR
WITH MR MANSFIELD IN SHIRT SLEEVES.
VARIOUS VILLAGERS ARE SITTING ABOUT:
NO ONE IS STANDING AT THE BAR. THE
ATMOSPHERE IS ONE OF ORDER AND QUIET,
DEFINITELY SUBDUED. CLIFF AND JACK
ARE SITTING AT ONE OF THE TABLES WITH
GEORGE.
CLIFF:
Well look who's here!
FRED : Hullo all! Hullo'George,
I W ondered where you'd got to. (TO
CLIFF) You ought to have'seen that
supper he dished up for me!
GEORGE SMILES GENIALLY AT THEM AND
IN HIS CONFUSION DRINKS. WILLOUGHBY
HAS GONE TO THE BAR AND IS TALKING TO
MR MANSFIELD.
JACK: I'll have to try one of these
famous dinners of yours Georgel
CUT TO THE BAR WHERE WILLOUGHBY IS JUST
TURNING AWAY FROM ELBOWS-CN-THE-BAR
CHAT WITH MR MANSFIELD.
WIELOUGHBY (AS MANSFIELD MOVES TO POUR
OUT A PINT GLASS OF BEER) What's it
going to be Fred?
FRED (COMING INTO FRAME) Hullo Mr
Mansfieldi
MANSF IELD (FIRMLY FINISHING THE GLASS
AND SCOOPING THE FROTH OFF) Hullo Fred
my old cock; how are you keeping, all
right?
THEY SHAKE HANDS.
FRED: Well you haven't chemged.
MANSFIELD:
The times have though,
thank God. I'm not run off my feet
like I used to be. Well what's it
going to be old son?
FRED:
I'll have a pint of wallop.
MANSFIELD POURS AND SCOOPS AND WILL-
OUGHBY PAYS.
MANSF IELD: I expect you find it


quiet here, eh Fred?
FRED: Well I could do with some
fishing.
MANSFIELD (WIPING THE BAR)
That's
right.
WILLOUGHBY HAS TAKEN THE BEER AWAY TO
THE TABLE.
CUT BACK TO THE TABLE AS HE DEPOSITS THE
GLASSES.
JACK: That's the stuff.
FRED COMES TOO AND THEY ARE ALL SEATED.
UP GO THE GLASSES-
WILLOUGHBY:
Down the hatch.
FRED: All the best.
-and mouths are licked, the beer
savoured.
FRED: Nice drop of beer.
CLIFF: They used to come from miles
around, just for the beer, remember?
FRED: That's right.
WILLOUGHBY: I was telling. Fred how
many holiday makers we, used to get,
and squatters.
JACK (TO FRED)
You couldn 't hardly
walk through the village, cars bumper
to bumper, eh, George?
GEORGE NODS.
CLIFF: And half of them seemed to break
down bang in front of my garage.
WILLOUGHBY:
It gave you a bit of extra
pocket money.
CLIFF: What would I do with that?
There's damn-all to S pend it on in this
place.
JACK (WITH A CHUCKLE) Keep it for your
kidsi
CLIFF: Kids is all I've got! Talk
about a thrilling life!
WILLOUGHBY: Go on, you don't know
when you're lucky.
CLIFF: Oh no? I wouldn't mind


trying my luck elsewhere for a
change---if I could---and I know
damned well if I tried I-----!
WILLOUGHBY:
Here!
(ALMOST RISING)
What's come over you?
CLIFF IS SILENT.
JACK (WITH AN ATTEMPTED CHUCKLE) He's
always like this after a bit of over-
time!
WILLOUGHBY: No: His old pal's back
in the village. It makes him feel he's
missing life. Eh Cliff?
CLIFF: Yes there might be S omething
in that.
WILLOUGHBY; I expect Fred has his
worries too though.
FRED;
Too true.
CLIFF (GETTING UP). What you going to
have George?
GEORGE: Same please.
CLIFF: You dad?
JACK NODS AND CLIFF TAKES EMPTY GLASSES
TO THE BAR:
JACK:
Talk about nag :
WILLOUGHBY (TO FRED) He drives himself
too hard if you ask me.
FRED (TO JACK) I could find hi m a
decent job down at our place, if he wan t-
ed it.
WILLOUGHBY: Has he suggested it then?
FRED: Who, Cliff? No.
WILLOUGHBY: I just wondered.
JACK: Oh, you don't want to listen to
his talk Fred.
WILLOUGHBY (TO JACK)
It's understand-
able in a way. He sees Fred here
kicking his heels for a week and S ipping
his after-dinner brandy down at Mrs
Harris's and he thinks why can't I do
the same.
FRED : But he gets his holiday s don't


WILLOUGHBY (PROUDLY) A month a year,
ev verything paid," sea-front hotel bookéd
up in advance--
FRED: Blimey, that's more than I get!
Here (AS CLIFF RETURNS WITH THE BEERS)
what you grumbling at? You get a
month's holiday, and I get a fortnight!
CLIFF:
Well to tell you the truth
the last holiday we had gave me the
pip. Walking the kids up and down the
front every morning, and most of the
people in the hotel' seemed to be from
this village--.
JACK: Oh well, S ame people are never
satisfied. Me and Mabel have a lovely
time down there.
CLIFF: So this year I thought we'll
stay at home. And Lil agreed with me
too: Cheers.
HE RAISES HIS GLASS TO WILLOUGHBY WHO
REMAINS MOTIONLESS WATCHING HIM. A
SLOW FADE ON WILLOUGHBY IN CLOSE UP.
OPEN AGAIN ON WILLOUGHBY AT HIS
CONSTABULARY DESK IN SHIRT SLEEVES THE
NEXT MORNING. HETS STUDYING A FORM,
SUNLIGHT POURS THR'OUGH THE DOOR.
HE LEANS BACK, SCRATCHES HIS EAR IN A
LEISURELY WAY. PUSH IN TO SEE THE
FORM HE IS STUDYING. -IT IS PRINTED
ACROSS THE TOP R ES ID E N T S.
BRING UP THE NAME CLIFF MARTIN,
OCCUPATION GARAGE MECHANIC, AGE 34.
MIX THROUGH TO A PILE OF EXERCISE
BOOKS WHICH DOREEN PECK IS MARKING IN
HER FRONT SITTING ROOM. PULL AWAY
TO SHOW HER WEARING, SPEC TACLES, WHICH
GIVE HER A HINT OF THE VIELLE FEMME.
ESTABLISH THE ORDERLY QUIET OF HER
ROOM.
A RING AT HER DOORBELL. SHE LOOKS
UP SLOWLY,WITHOUT MOVING, THEN TAKES
OFF HER GLASSES AND LAYS THEM av THE
OPEN EXERCISE_BOOK. SHE GOES TO THE
WINDOW.
SHOT OF FRED STANDING OUTSIDE, THROUGH
THE WINDOW.
CUT TO HER OPEVING THE FRONT DOOR.
DOREEN: Hullo Fred, come in. I
must say you've brought S ome nice
weather with you.


FRED (COMING IN) I don't do bad do
CUT TO THE SITTING ROOM AS THEY COME
FRED:
Still at your school books?
DOREEN: That's right. Can I get you
some coffee?:
FRED: No thanks duck. I not long
ago had breakfast: I'm not like you
lot, nose to grindstoné soon after
dawn----I'm on holiday.
DOREEN: I was beginning to Wonder
wha t' had happened to you:
FRED (SITTING DOWN) Well the main
adventure was not finding the old
Castle there.
DOREEN: Oh yes. It was demolaahed
s ome years ago now -
FRED: But didn't I tell you IV was
going fishing down at the Castle;
like old times? and you never said
a word about demolition.
DOREEN: Oh- I expect that's because
we all talk about the Castle as if
it's still there-- --we mean that end
of the village-
FRED: But there's not a trickle of
water either. How did you expect me
to fish in cement?
DOREEN (TAKING IT AS A JOKE) Oh well,
I suppose we 're absent-minded round
herel
FRED: I reckon you are. To send me
down fishing Where there*s no blinking
water! I sai id the same to Cliff.
But I don't know---(SHAKING HIS HEAD)
old Cliff----he don't seem a happy man
to me I
DOREEN (GAZING ACROSS AT THE WINDOW)
I don't remember a summer like this,
not for years:
FRED: And another thing, I still
haven't seen any kids in this village,
apart from Cliffts three: Where
do you keep them all for God's sake?
DOREEN (SMILING) Would you like to
see them?


CUT TO CHILDREN PLAYING RAUCOUSLY
IN A FIELD BELOW MODERN-SHAFED SCHOOL,
PAN R ACROSS CHILDREN SLOWLY TO
DOREEN AND FRED STANDING WATCHING
THEM.
DOREEN: We make it a rule. No
children at home unless they're sicki
Even in the holidays.
FRED: And you call that freedom?
DOREEN: Pardon?
FRED (ABOVE THE SCREAMS) Isaid is
that freedom?
DOREEN: Well, it's freedom for the
parents, and the children love it,
that's all I know.
FRED NODS, HALF WAY TO BEING CONVINCED:
ANOTHER SHOT OF THE CHILDREN.
CUT BACK TO FRED SCANNING THEM.
FRED: Where are Cliff's kiddées then?
DOREEN: Cliff Martin's? Oh they're
absent today.
FRED: What, sick after all that meat
pudding the night before last? I've
never seen kids eat like them threet
Talk about wolf! They even beat old
George!
DOREEN : No I think they'e g one on
holiday.
FRED: That without Cliff?
DOREEN : No Cliff's gone too. At
least I think so:
FRED: I was with him last night!
He said hé was giving the sea a miss
this year :
DOREEN (WITH A SHREG) Well, the teach-
er reported them absent, and said
they'd g one on holiday.
FRED: But he wouldn't go off with-
out saying a word, surely to God?
DOREEN (IMPASSIVELY) I could be
mistaken. But their grandad told
me too.
FRED: Who, Jack?


DOREEN : That's right. -
FRED: Well would you believe it?
CUT BACK TO WILLOUGHBY AT HIS DESK
TAKING A BLACK STAMP AND BRINGING IT
DOWN FIRMLY ON THE FORM BEFORE HIM.
PUSH IN TO SHOW THE STAMP PERSCNA
NON GRATA ABOVE CLIFF MARTIN'S NAME.
BRING:UP THE NON.
MIX THROUGH TO FRED WAL KING ALONG THE
DESERTED VILLAGE STREET TO CLIFF'S
GARAGE. HE LOOKS IN AT THE ENTRANCE
AND SHOUTS ABOVE THE DIN.
FRED: :Cliffi
A SHOT OF THE IN' TERIOR OF THE GARAGE
SHOKS NO SIGN OF CL IFF, ONLY MECHANICS
WITH THEIR. HEADS DOVN. TRACK BEHIND
FRED AS HE WALKS SLOWLY BETWEEN THE
VEHICLES, PEERING DOWN AT THE-LEGS
OF MECHANICS TO VERIFY IF THEY ARE
CLIFF, AND THEY NEVER ARE.
CUT TO FRED AT CLIFF'S COTTAGE,
RINGING AT THE DOOR. THERE IS NO
ANSWER. HE PEERS IN AT THE WINDOWS
WHICH ARE CLOSED TIGHT. HE RINGS
AGAIN. HE WALKS BACK DOLN THE GARDEN
PATH, LOOKS UP AND DOWN THE DESERTED
ROAD, LOOKS BACK AT THE HCUSE.
MIX THROUGH TO HIM ARRIVING CN FOOT,
SWEATING, AT THE YARD OF JACK'S FARII.
THE DOOR OF THE HOUSE IS OPEN AS
USUAL AND HE PEERS IN.
FRED: Anybody at home?
CUT TO THE KITCHEN WHERE MABEL IS
MIXING FLOUR FOR A CAKE. SHE-LOOKS
UP, DANGLES HER WHITE HANDS HELPLESSLY
FOR A MOMENT AND THEN BELLOWS.
MABEL: Who is it?
FRED (FROM THE FRONT DOOR)
It's me!
Fred!
MABEL: Come in Fred! - I've go t
my hands in the flourt
SHE CONTINUES MIXING. FRED APPEARS
AT THE DOOR.
FRED: Hullo.
MABEL: Come in Fred. Nice to see
you again.
FRED: Jack about?


MABEL: He's down at the pigs. It's
muck=clearance morning.
FRED (SUBSIDING INTO ONE OF THE KITCHEN
CHAIRS) Oh I see.
MABEL:
Weather's holding.
FRED:
That's right.
MABEL: How's things down at Mrs
Harris's, all right?
FRED: Yes, fine, thanks. :
MABEL: He's treating you all right
is he?
FRED: Oh yes.
THERE IS SILENCE AND SHE GOES C MIX-
ING.
FRED:
Cliff gone then?
MABEL (RUSHING HER EXPLANATION UN-
NATURALLY)
Oh he's off on his
holidays, you know.. They always fall
about now.
FRED: What he went off without say-
ing a word of goodbye? That's funny
for Cliff isn't it?
MABEL: I reckon he hardly knew what
he was at Fred. He's been warking
tha t hard.
FRED (GETTING UP ABRUPTLY)
Oh well,
I'll be pushing back.
MABEL: Won't you wait for Jack?
He'll be disappointed.
FRED: No. I think I'll go and
do some fishing down at the old
Castle. (WITH A FIRM LOOK AT HER)
MABEL (BREEZILY) Oh that's nice.
All right then. Look after your-
self Fred. (AS HE DISAPPEARS DOLN
THE PASSAGE) AND BRING US A CO.UPLE
OF NICE FAT TROUT EH?!
SHE CEASES MIXING AND STANDS LIST-
ENING. HIS FOOTSTEPS DIE AWAY. SHE
BEGINS MIXING SLOWLY AGAIN.
MIX THROUGH TO MORE KITCHEN WORK,
THIS TIME AT MRS HARRIS'S: THE QUICK
INDENTATIONS OF A KNIFE ON THE EDGE
OF AN APPLE PIE. PULL BACK TO SHOW


GEORGE AT WORK IN AN APRON. FRED
IS STANDING BY THE DOOR.
FRED: Nice-looking pie you've got
there.
GEORGE NODS GENIALLY.
FRED: Sean Cliff today?
GEORGE SHAKES HIS HEAD.
FRED: Heard he'd gone on his hol-
idays.
GEORGE: Oh yes?
MIX THROUGH TO APPLE PIE NOW CO OKED
AND DIMINISHED BY A QUARTER ON THE
TABLE BEFORE FRED IN THE LOUNGE.
FRED CROSSES HIS LEGS, GAZES BEFORE
HIM, YAWNS. AND HE BEGINS: BLOWING
UP AT THE MOBILE AGAIN. FADE SLOW-
OPEN AGAIN ON THE EXTERIOR OF THE DUCK
AFTER DARK. WAIT-FOR FRED TO WALK
DOWN THE LANE. HE ENTERS THE PUB.
CUT TO THE INTERIOR OF THE PUB WHERE
MABEL, JACK, WILLOUGHBY AND GEORGE
ARE SITTING AT A TABLE. FRED WALKS
MABEL: Hullo Fred! Any trout?
FRED: No: The cement wears their
fins off; Not tasty after that is it?
MABEL (BREEZILY)
That's right!
TRACK AFTER FRED TO BAR. MANSFIELD
IS WAITING, ELBOWS ON BAR.
MANSFIELD: Same as usualx Fred?
FRED:" That's right.
CUT TO THE TABLE WHERE THE OTHERS
ARE SITTING. . THEY NOD AND SMILE TO
EACH OTHER.
WILLOUGHBY: I see in the peper today
this might hold out till the autumn.
MABEL: Go on?
JACK: Good for my corn. No acts
of God this year, I hope. (WITH A
WINK) So expensive for the insurance
companies.
FRED EN TERS THE FRAME WITH HIS DRINK.


WILLOUGHEY: Well Fred, I don't suppose
you'll be S orry to leave us at the end
of the week, it gets a bit quiet:
FRED: It wasn't quiet when I used
to live here.
WILLOUGHBY: Well same people might
say there was a damned-sight-too much
hoise. I remember when the kids used
to play football against the constab-
ulary wall anyhow, We scotched that
lark.
FRED: I'm not so keen on noise myself,
really, It isn't t. hat. But I think
we were a friendlier bunch', all said
and done: Present company excepted,
it don't seem to me there's much give
and take here, not like Where I live.
WILLOUGHBY:
It's all give and take
Fred. You can't judge by the appear-
ances mate.
FRED: I can judge if my best pal
walks out of a place. without a blime
word, after I haven't s een him for
five years nor more: I can judge that:
WILLOUGHBY:
Oh----Cliff. He needed
a change: Eh, Mabel?
MABEL: Yes. I was telling Fred this
morning:
FRED: But he sits here last night
telling everybody he's going to miss
his holidays this
and next morn-
ing first thing he yeerac packed up and
gone! Blimey if that's not st.range
I don't know what isi
WILLOUGHBY: I think you're st. range
not seeing the look on his Tace----
FRED: . Yes he was scared!
WILLOUGHBY: Oh don't talk rot Fred.
Drink your beer up like a g ood boy and
I'll get you another one.
JACK: He was getting irritable with
the. kids.
WILLOUGHBY (GETTING UP)
Anybody for
a game of darts?
GEORGE NODS GENIALLY AND THE MET GET
UP WITH THE EXCEPTION OF FRED.
WILLOUGHBY PUTS HIS HAND ON HIS SHOULD-


WILLOUGHBY: You play along of me,
Fred. We can beat these old baskets
any day of the week.
FRED GETS UP AND THE DARTBOARD LEAVES
ARE OPENED. THEY CHOOSE THEIR DARTS.
MIX THROUGH TO THE EXTERIOR OF THE PUB
AT CLOS SING TIME. QUITE A LITTLE CROWD
ON THE PAVEMENT.
FUSH IN TO OUR GROUP.
WILLOUGHBY:
Well good night all.
HE TAKES FRED'S ARM AND DRAWS HIM
AWAY AS IF THEY HAD ARRANGED TO WALK
HOME TOGETHER.
FRED: Good nighti
MABEL: Good night Fred!
JACK:
Slaep tighti
WILLOUGHBY- AND FRED WALK OFF DOWN THE
DARK STREET. STAY ON THEM UNTIL THEY
ARE A GOOD WAY OFF, WALKING RATHER
APART.
CUT TO THE INTERIOR OF THE CONSTABULARY,
WITH WILLOUGHBY SWITCHING ON THE LIGHT.
FRED COMES IN BEHIND HIM..
WILLOUGHBY (SITTING DOWN AT HIS DESK)
Right now, Fred; take a seat: The
walls haven't got no ears here.
(ELBOWS ON DESK MATTER OF FACTLY)
Listen, do you like getting people
into trouble?
FRED: : Me? of course I don't!
WILLOUGHBY: Well you heard Cliff last
FRED: All he said was he didn't want
a holiday, he was fed up and wanted
a change, not the same old seaside
hotel with all the same faces--
WILLOUGHBY: Yes, I know he did.
And I'd like to talk like that some-
times too. I mean it's good to:
shoot your mouth off now and again.
If you can get away with it. But
I Wonder if We can. In a Top Secret
area. You can. But I wonder if
we can: Now supposing I shot my
mouth off? It might be quick march
for me. Might be. I don't know. :
You see, Fred, I did this for Cliff's
good. I said get out, tonight. And
he got.


FRED: Oh, so it was your idea!
But what beats me is where you get
the blinking right, sending people
away, it's like a dictatorship!
WILLOUGHBY:
Who sent him away?
I asked him to go. And he went.
That's all. I expect he was scared.
But not of me - Because I'm scared
too!
FRED: But What of for God's sake?
WILLOUGHBY: Well, of putting a foot
wrong I suppose. Because once you've
done it, Fred, it's too late! And
then thére's George.
FRED: What about George? surely to
God you're not scared of him?
WILLOUGHBY: Well, you know i we always
ask his advice before we. make a move.
FRED: And did he advise you on this
one?
WILLOUGHBY:
Oh yes:
FRED : Well I'll be blessed!
WILLOUGHEY: You see, Fred, I always
think to myself (WITH A GLANCE AT THE
DOOR) you never know what power there
is behind s omebody. Here's a man
comes to the village along with a
contractor's firm, a shy, fat little
man, you'd think he was trying to
hide all the time: But he sticks.
He just stays here. He takes over Mrs
Harrists. Gets a job in the post
office. Listens. Notice that?
Listens all the time. Never says
a word. (WITH ANOTHER GLANCE AT THE
DOOR) He's a good chap, George...
MIX TO GEORGE OPENING THE FRONT DOOR
OF MRS HARRIS'S TO FRED A LITTLE LATER.
FRED: Hullo George:
GEORGE: Come in Fred.
CUT TO THE LOUNGE AS THEY WALK IN.
GEORGE:
I'll get you a cup of tea,
shall I?
FRED: I've just been with Mr Will-
oughby. He said he sent Cliff away
on your advice.
GEORGE:
Oh yes. I'll just get your


tea.
HE LEAVES BUT FRED WALKS AFTER HIM.
TRACK BEHIND THEM TO THE KITCHEN.
GEORGE GOES STRAIGHT TO THE KETTLE.
GEORGE (NOTICING HIM) I had it nearly
on the boil.
HE TAKES DOWN THE TEA CADDY. FRED'S
TEA TRAY IS ALREADY NEATLY LAID.
FRED: They tell me you used to be in
the contracting line, George.
GEORGE: : That's right.
FRED: And are you a sort of boss
round here?
GEORGE: Boss? (LAUGHING) No.
Would you like a game of cards?
FRED (GAPING)
GEORGE: I'll just get your tea,
FADE QUICKLY.
OPEN AGAIN ON THEM PLAYING CARDS IN
THE LOUNGE.
THEY HAVE BOTH HAD TEA.
TICK-TOCK OF THE CLOCK. THE SLIGHT
SLAP OF CARDS ON THE TABLE. FRED
WATCHES GEORGE.
MIX THROUGH TO THEM SOME HOURS LATER
STILL AT CARDS.
THE CLOCK SERIKES A
COMFORTABLE THREE,
GEORGE (STUDYING THE CARDS) Yes, I
liked the old village so I stayed.
FRED (GIVING HIM A PUZZLED LOOK) Oh yes.
PAUSE WHILE THEY CONTINUE PLAYING.
GEORGE: I'm shy. That's my trouble.
And greedy Poo. Makes enemies S ome-
times (BUSY WITH HIS CARDS).
FRED: But What made you come to a
Top Secret area George?
GEORGE GENIALLY PLAYS HIS CARD WITH-
OUT ATTELPTING TO MAKE AN ANSWER.
FRED: And why does everybody ask
your advice?
GEORGE - (LAUGHING) Yes, whyi
WITH A QUICK LOOK AT FRED HE GETS UP
AND GOES TO THE WINDOW, PEEPS BEHIND
THE CURTAINS AND SATISF IED THAT THERE
IS NO ONE THERE RE' TURNS TO THE TABLE.


GEORGE (WITH GREAT EFFORT so THAT
HE SWEATS) I just say yes or no.
I don't give 'em advice!
FRED: But. how do you know Which to
say?
GEORGE: I say whichever they W ant.
FRED: Oh! So you never advise 'em
against their will like?
GEORGE SHAKES HIS HEAD. WITH A SILENT
LAUGH, SWEATING PROBUSELY.
FRED (AS THEY GO ON PLAYING) I've
been thinking it over George. I'm
going to cut my holiday short. I'll
be off tomorrow morning. Hy wife'll
be---well, she might be anxious.
GEORGE IS SILENT, BUSY WITH HIS CARDS.
FRED: You see, it's funny, George,
I like you all, but I don't feel at
home. I don't know where I am,
things aren't clear to me like they
are down at.our place---do you see
what I mean?
GEORGE (PUTTING DOWN HIS HAND OF
CARDS SLOWLY AS IF ALL THE HAPPINESS
HAD DRAINED OUT OF HIM) Oh yes.
FRED: I think you've done marvels.
I doreally. I'll bring my Rachel
over one day, and the kids. But
old Cliff leaving like that, I mean
it did upset me.
GEORGE IS MOTIONLESS.
FRED: We're finishing the game aren't
GEORGE SHAKES HIS HEAD IN SILENCE,
GAZING DOWN AT THE TABLE WHERE HIS
HAND:OF CARDS LIES ABANDONED.
A SLOW FADE.
OPEN AGAIN ON FRED COMING DOWN THE
STAIRS NEXT MORNING. FOLLOW HIM INTO
THE EMPTY LOUNGE. HIS BREAKFAST IS
ALREADY LAID. HE LOOKS ROUND. NO
CNE ELSE ABOUT. HE SITS DOWN AND
BEGINS BUTTERING TOAST WITHOUT MUCH
ZEST.
THET HE NOTICES A BILL FOLD-
ED ON A PLATE. HE TAKES IT AND
OPENS IT, THEN COUNTS OUT SOME NOTES
FROM HIS WALLET.


HE POURS HIMELF SOME COFFEE AND THEN
SITS BACK AS IF LITTLE INTERESTED.
HE LOOKS UP AT THE MOBILE AND SETS IT
IN MOTION WITH A BLOW OR T70.
PAN UP TO THE MOBILE. IT TURNS AND
TURNS, SLOWING GRADUALLY.
PAN DOWN TO THE TABLE AGAIN WHICH IS
NOW WITHOUT FRED. BREAKFAST IS FIN-
ISHED. THE BILL AND BANK NOTES RE-
MAIN THERE,
FRED (FRON THE PASSAGE) George!
CUT TO THE PASSAGE WHERE FRED IS
STANDING WITH HIS SUITCASE AND FISH-
ING TACKLE. HE LOOKS IN AT THE
KITCHEN BUT THE CAVERNOUS AREA CON-
TAINS NO GEORGE.
FRED: George, I'm off!
AS THERE IS NO REPLY TO THIS HE TAKES
HIS BAGS AND GOES TO THE: FRONT DOOR.
IT CLOSES BEHIND HIM.
MIX TO DOREEN OPENING HER FRONT DOOR
TO FRED WHO IS STANDING THERE WITH
HIS SUITCASE AND F ISHING TACKLE.
DOREEN: : Hullo Fred!
FRED: I've came: to say good bye.
DOREEN: Why, are you leaving already
then?
FRED: You was right about Cliff.
He went off.
DOREEN: That's right.
FRED: Well Doreen, I'll remember you
to Rachel.
DOREEN : Yes give her my love. And
bring her over S ome time won't you?
FRED (ABOUT .TO GO) Oh Doreen, I
couldn't find George, so I left the
money on the breakfast table. He
put a bill with my egg like this
morning.
DOREEN: I'll .tell him: Don't worry
about it Fred. It's been good to
see y.ou again.
FRED: Tell I brought some good
wea ther apyhow;


DOREEN: : I only hope you don't take
it away again!
FRED: Well cheerio Doreen. Er-
(LOOKING ROUND) does this village run
to taxis, do you know?
DOREEN: Well not after the old
smithie died---
FRED: Oh well.
DOREEN: Listen why don't you give
Jack a tinkle? He might run you to
theedge.
FRED: Yes, well, I could try.
DOREEN: Come in a moment:
CUT TO THEM STANDING BY THE FHONE
IN THE FRONT SITTING ROOM.
DOREEN: It's---Oh well, let me dial
it for you.
SHE DIALS THE NUMBER.
DOREEN: Is that you Jack? It's
Doreen. (PAUSE FOR REPLY) Hold on,
I've got Fred here. Fred Powell.
FRED (TAKING THE PHONE) Morning
Jack. Listen Jack, you can't run me
to the sta---to the edge, can you?
A PAUSE WHILE THE OTHER PARTY REPLIES.
FRED: Oh I see. I thought it was
muck-clearance yesterday.
(PAUSE)
Oh I see. Yes, well, forget about
it, Jack. Thanks very much.
HE PUTS THE PHONE DOWN.
FRED: He's got muck-clearance two
days a week and it has to have his
whole attention like.
DOREEN: : Oh I forgot about that.
FRED : I'll walk then. It's not so
fari
DOREEN: 7 I'd drive you myself (AS THEY
WALK TOWARDS THE FRONT DOOR) if I didn't
have a lesson.
FRED: That's all right Doreen.
DOREEN: You could put your head in
at the garage and ask one of the


mechanios. He'll pop you to the
edge:
FRED: Yes, all right, I'll do that.
CUT TO HIM OUTSIDE AGAIN, PICKING UP
HIS BAGS:
FRED: Well good bye Doreen. All
the best.
DOREEN: All the best, Fred.
SHE WA TCHES HIM LEAVE BUT HAS CLOSED
THE DOOR BEFORE HE REACHES THE HND OF
THE GARDEN PATH. HE BEGINS HIS TRUDGE
TO 'THE EDGE'.
CUT TO HIM NEARING CLIFF'S GARAGE.
HE IS ON THE OTHER SIDE OF THE LANE
FROM THE GARAGE.
TRACK AFTER HILI AS
THE SOUNDS OF SPRAYING AND HAMMERING
APPROACH. HE BEGINS CROSSING THE
LANE TO THE EN: TRANCE. THEN HE STOFS
DEAD.
A SHOT OF THE INTERIOR OF THE GARAGE
SHOWS CLIFF WORKING AT CNE OF THE
VEHICLES. HE IS LIFTING A CYLINDER
HEAD OUT OF A BATH OF PETROL.
FRED (BEGINNING TO SHOUT)
BUT HE STOPS. DID CLIFF LOOK ROUND
FOR AN IMPERCEPTIBLE MOMENT, MEET HIS
EYES AND THEN RETURN ABRUPTLY TO HIS
WORK?
CLOSE UP OF FRED SHOTS HIM IN FUZZLE-
MENT, GAZING.
FRED (ALMOST TO HIMSELF) Cliff....
HE BACKS TOWARDS THE OTHER SIDE OF
THE LANE AGAIN SLOWLY. AND HE WALKS
CN. THEN HE STOPS, GLANCES BACK,
WALKS ON AGAIN.
MIX TO HITI WALKING ACROSS COUNTRY AS
AT THE BEGINNING:
A LS OF HIM WALKING.
HE COMES TO THE MILEPOST HE EBAMINED
AT THE BEGINNING AND SITS DOWN ON IT,
RESTING.
CUT TO HIM HOT AND UNTIDY NOW, WALKING
AGAIN.
A LS OF HIH APPROACHING THE WOODEN


ARCH AT 'THE EDGE'.
CUT TO HIM WALKING TOWARDS THIS ARCH.
TRACK BEHIND HIM. HE STOPS SUDDENLY.
CLOSE UP OF HIM WIPING HIS BROW, HIS
CASES DOWI AND THEN STARING HARD BEFORE
HIM, STRAINING HIS EYES TO MAKE SURE
OF SOMETHING.
A SHOT OF THE ARCH SHOWS THE WORDS
'MILITARY AREA'. THEREFORE HE IS
WALKING OUT OF THE MILITARY ZONE, INTO
THE MILITARY ZONE??.. AND HE NEVER
KIEW IT BEFORE??
HE PICKS UP HIS BAGS AND APPROACHES
THE ARCH WITH HIS EYES FIXED ON THOSE
WORDS. HE GOES UNDER THE ARCH,
PEERING UP ALL THE TIME, AND THEN,
CN THE OTHER SIDE, HE LOOKS UP:
AGAIN THE WORDS 'MILITARY ZONE'
AS HE SAW THEM ON ARRIVAL IN THÉ
TAXI.
HE RETURNS UNDER THE ARCH AND LOOKS
UP AGAIN. WALKS THROUGH THE ARCH
AGAIN AND ONCE MORE SEES THE WCRDS.
AND THIS TIME HE STANDS STILL,
TRYING TO THINK IT OUT.
HE LOOKS UP THE ROAD TOWARDS THE
VILLAGE, THEN TURNS TO LOOK AT THE
ROAD HE ARRIVED BY IN THE TAXI.
THEY SEEM IDENTICAL. THEY STRETCH
INTO THE DISTANCE, QUITE DESERTED,
IN PRECISELY THE SAME HAY. HE TURNS,
TURNS AGAIN, BEWILDERED.
CUT TO HIM CONTINUING HIS WAY. TRACK
BEHIND HIM IN SUCH A WAY THAT THE
ROAD BEFORE HIM LOOKS IDENTICAL TO
THE ROAD HE TOOK ON ARRIVAL. HE
TURNS IN CLOSE UP, LOOKS BACK.
BACKTRACK IN FRONT OF HIM IN CL OSE UP
AS HE CONTINUES HIS WAY. HE IS GAZING
DOWN, HIS FACE QUITE CHANGED WITH PER-
PLEXITY CLOSE TO PANIC. WE SEE THE
ARCH BEHIND HIM.
INTERCUT A SERIES OF SHOTS WITH HIM
STOPPING AND LOOKING BACK AS THE ARCH
GRADUALLY DISEPPEARS INTO THE DISTANCE.
CUT TO ANOTHER BACKTRACKING CLOSE UP
WITH HIM STILL PERPLEXED AS IF HE IS
RETHINKING ALL OF LIFE ON A NEW BASIS.
A LS OF HIM WALKING ALONG THE DESERTED
ROAD AS THE TITLES COME UP.