THE PLOUGHMAN'S LUNCH

                               An original screenplay by

                                      Ian McEwan


























                                               Post Production Draft, 1985





               FADE IN:

               INT. BBC RADIO NEWSROOM - LATE MORNING

               We are IN CLOSE as a story arrives on a press service 
               teleprinter.  A Hand tears away the sheet.  The CAMERA 
               TRACKS as we follow the story.  It passes through the 
               copytaster's hands and it passes on down to the summaries 
               desk.

               This is a time of steady activity.  Journalists move about 
               the room to consult.  Others are writing in longhand, and 
               several are dictating copy to typists, who are all women.  
               One or two people - NEWSREADERS - sit about doing nothing.  
               Much movement of paper.

               Over the sound of typewriters and the murmur of dictating 
               voices we HEAR a WOMAN'S VOICE over the P.A. Announce, 
               "The Leader of the Opposition on five".  A few journalists 
               pick up their headsets, but they do not stop writing.  We 
               establish the atmosphere - laconic but efficient, and a 
               little down-at-heel.

               At the summaries desk we find JAMES PENFIELD.  He stands 
               to the side of a little behind a seated secretary, dictating 
               in a laconic deadpan voice from a sheet of scrawled 
               longhand.

                                     JAMES
                         Between fifty and sixty scrap metal 
                         workers are..

               The phone rings.  James snatches it and answers without 
               breaking stride.

                                     JAMES
                         Hello.  Newsroom.

               The secretary waits, her face totally inexpressive.

                                     JAMES
                         Who?  Paul Dean?  He doesn't work 
                         here anymore.

                                     ANOTHER JOURNALIST
                              (calling over his 
                              shoulder as he 
                              passes)
                         Went to IRN.

                                     JAMES
                         No.  No.  Sorry.  Try IRN.

               He drops the receiver and continues.  The secretary 
               reactivates.

                                     JAMES
                         ..reported to have landed illegally 
                         on the island of South Georgia in 
                         the South Atlantic.

               The Foreign Office reacted sceptically to reports that 
               Argentine Government was planning..

               INT. NEWSROOM - LATE MORNING

               James and a newsreader (one of those we saw earlier doing 
               nothing) stand together by the photocopier.  Walking with 
               controlled haste and carrying the news sheets, they head 
               towards the studio.  A clock behind them shows two minutes 
               to twelve.

               INT. STUDIO - LATE MORNING

               James and the newsreader sit at a table in the studio, 
               fairly close together.  The newsreader settles himself 
               behind the microphone.  James sits back, professionally 
               bored, rolling a stub of a pencil between his fingers.

               Through a large loudspeaker we hear a Radio 4 programme 
               winding up.  Theme music.

               The newsreader has a plummy authoritative voice and is a 
               year or two younger than James.  He stares down at the 
               news sheet.

               From the Control Room a woman announces "One Minute".

                                     JAMES
                         How's Mary?

                                     NEWSREADER
                              (stung then 
                              recovering)
                         Oh, she's well.  Jolly well.  
                         Thanks.  Very well indeed.

               From the Studio Controller's POV we SEE the Newsroom behind 
               James and the newsreader, who chat soundlessly.

                                     MOMEN'S VOICE
                         Before the news at twelve o'clock, 
                         there's just time to tell you about 
                         Woman's Hour this afternoon.  
                         Commander Freddy Bracknell will be 
                         talking about his four years as a 
                         German POW in Stalag Three, and 
                         mountaineer John Clayton will be 
                         reliving the thrills and perils of 
                         Everest.  Also, Polly Morrell will 
                         be finding out from the historian 
                         Prefessor John Gerty how the 
                         governments of Eastern Europe 
                         distort their recent past in history 
                         books to suit their present policies 
                         and allegiances.  That's Freddy 
                         Bracknell, John Clayton and John 
                         Gerty, all on Woman's Hour just 
                         after two o'clock this afternoon 
                         The six pips.  The sweep hand of 
                         the clock.  The red light.

                                     NEWSREADER
                         BBC News at twelve o'clock.  There 
                         is cautious optimism in Brussels 
                         that formula may be reached to 
                         break--

               EXT. BRIXTON - LATE AFTERNOON

               James hurries home through the din of rush hour Brixton.

               INT. JAMES' FLAT - LATE AFTERNOON

               James' flat is one floor of a large Victorian house.  The 
               decent-sized rooms knocked together make a very large 
               bedsitting room.  Bare boards, junk furniture, but elegant.  
               Heavy stereo stack, a lot of records, a lot of paperbacks.

               In high spirits, James prepares to go out.  He chooses a 
               shirt, begins to undress.  The TV is on.

               INT. JAMES' FLAT - NIGHT

               An hour later.  James is dressed to go out.  The big room 
               is now in darkness except for the light by James' armchair.  
               He is talking on the phone to his friend Jeremy Hancock.

                                     JAMES
                         C'mon, you promised...tell her 
                         you've got to finish a piece...I 
                         know...I know, but it's my big 
                         night...yes she's going to be 
                         there...C'mon!  All I want you to 
                         do is introduce me to her.  And 
                         remember, build me up...good man.

               INT. PUBLISHING HOUSE - NIGHT

               A high-ceilinged room in a publishing house, Bloomsbury.  
               A launch party.  About forty guests.  Waiters take round 
               trays with glasses of wine.  By some large double doors is 
               a display of school textbooks.  Most prominently featured 
               is the book being launched today - Goldbooks Schools Series 
               No.  5 The Cold War, edited by Prefessor J. Gerty.

               James is led by a PERSONAL ASSISTANT through the crowd to 
               meet GOLD, who is surrounded by ATTENTIVE YOUNG MEN.

                                     GOLD
                         .....took him by the elbow, steered 
                         him into a quiet corner and said 
                         "Where do you think you are, young 
                         man?  Fabers?"

               From the circle of polite laughter, Gold extends his hand 
               towards James.

                                     GOLD
                         Glad you could come.

                                     PERSONAL ASSIATANT
                         James Penfield.

                                     GOLD
                         Good, good.  Now is someone getting 
                         you a drink.

                                     PERSONAL ASSIATANT
                         Wrote the Berlin Airlift chapter.

               Job done, P.A. fades.

                                     GOLD
                         I know, I know!  Gentlemen, let me 
                         introduce you to one of our most 
                         talented contributors to The Cold 
                         War.  James Penfield.  He wrote 
                         the opening chapter, on 'The Berlin 
                         Airlift'.  One of the best chapters 
                         in the book.

                                     JAMES
                         Hello.

                                     GOLD
                         I won't introduce you all by name.  
                         Basically James, this is our UK 
                         sales team.  What was I saying?  
                         Yes, these graduate trainees...

               Twenty minutes later.  JEREMY has just come in and is 
               surveying the room from the doorway.  He takes a drink 
               from a tray, notices James across the room and smiles 
               ruefully.

               Jeremy Hancock is a journalist, same age as James, good-
               looking and well-dressed.  A fairly corrupt look about 
               him, despite this.  He is intelligent and intensely self-
               regarding.

               James makes his way through the crowd towards Jeremy.  
               They stand on the doorway - a position which affords them 
               a good view of the guests in the room and those guests who 
               are still arriving by way of a grand and ornate stairway.

                                     JEREMY
                         My dear James.

               With mock solemnity, he kisses James on the cheek.

                                     JAMES
                         Not here.

                                     JEREMY
                         To the airlift.

                                     JAMES
                         To the airlift.

                                     JEREMY
                         Any sign of the goddess Barrington?

                                     JAMES
                         Not yet you know any of these 
                         people?

                                     JEREMY
                         One or two.  A grey lot.  Some 
                         social democrats.  Some diligent 
                         anti-communists.  A political 
                         section man from the US Embassy.  
                         And this exquisite Californian 
                         wine, courtesy of the CIA.

                                     JAMES
                         Nonsense.

               They look across the room at Gold being listened to.

                                     JERMEY
                         By the way, I hear that your Mr. 
                         Gold is about to become very rich.  
                         I hope you told him that most of 
                         the ideas in your Berlin airlift 
                         chapter came from me.

                                     JAMES
                         Fuck off.

                                     SUSAN (O.S.)
                         So it's all worked out perfectly...

                                     JAMES
                         That's her.

               The two men go to the head of the stairs to watch SUSAN 
               come up.

                                     SUSAN
                         She get's the house, he get's the 
                         cars.  And the baby is still in 
                         Switzerland with the Au pair.

               SUSAN BARRINGTON is in her late twenties.  Flamboyant, 
               effortlessly confident, she inhibits that special world - 
               with its different rules - of the truly ambitious.  James 
               fascination owes as much to the certainties of her class 
               as to her looks.

               An attractive young man accompanies her up the stairs.

               Jeremy makes a sound.  Susan Glances up.

                                     SUSAN
                         Jeremy!

               She waves and her elbow catches a tray of champagne being 
               carried downstairs.  Glasses fall about her feet.  While 
               apologising, Susan does not take her eyes off Jeremy.

                                     SUSAN
                         How Stupid!  I am sorry.

               The butler and the young man drop to the ground and set 
               about picking up the glasses.  Susan regards them for a 
               moment, then steps round them and hurries up the stairs.

               Jeremy and Susan go into a clinch, with kisses.  James 
               stands a few feet off.

                                     SUSAN
                         Jeremy!  How Fantastic.

                                     JEREMY
                         Darling Susan.

                                     SUSAN
                         You're so famous now.

                                     JEREMY
                         And you're so beautiful.  What are 
                         you doing here?

                                     SUSAN
                         We're thinking of doing this current 
                         affairs thing for schools.  World 
                         history since 1945.  Twelve 
                         programmes, lots of stock film.

                                     JEREMY
                         In that case, you should meet my 
                         very dear friend, James Penfield.  
                         Brilliant analyst of recent history 
                         and a world authority on the Berlin 
                         Airlift.

               James and Susan say "Hi" and shake hands.

                                     SUSAN
                         Was that your chapter, then?  It 
                         was very good.

                                     JAMES
                         Thank you.  We met last week, at 
                         the Wajda film.  You won't remember.  
                         We didn't actually speak.

                                     SUSAN
                              (not remembering)
                         Yes, that's right.  I'm being 
                         terribly rude.  Bob?  Oh, Bob.  
                         This is Bob Tuckett.  Bon was at 
                         Oxford too.

               Bob, Jeremy, James all say "Hi".  Momentarily enthusiasm 
               flags, no one speaks.  Then the drinks tray is suddenly in 
               their midst and they all reach out thankfully, with mock 
               groans of relief and surprise.

               An hour later, Guests are leaving.  James has got Susan 
               alone.  They descend the stairs.  CLOSE ON Susan, a 
               disparate kind of seriousness.

                                     SUSAN
                         I mean, in many ways I'm right 
                         behind the women's movement.  But 
                         sometimes I wish they'd get on 
                         with it instead of moaning on.  
                         The office was split right down 
                         the middle.  I mean, as a woman I 
                         understood what they were saying, 
                         that current affairs was all about 
                         what men did, but as a human being 
                         and a television researcher, as a 
                         professional , I could just sense 
                         they'd got it all wrong.  I could 
                         see there were two paths I could 
                         go down, power or not-power.  Down 
                         the not-power path was lot of 
                         sisterly feeling, masochism and 
                         frustration.  Down the other path, 
                         I could keep on working.  So of 
                         course I voted with the men and 
                         the other women all resigned.  I 
                         think they're mad, don't you?

               They arrive by the front door.  There is the briefest pause.  
               James makes his bid.

                                     JAMES
                         Can I give you a lift?

                                     SUSAN
                         No, it's all right.  I can get a 
                         cab.  Night night.

               James stands in the doorway and watches her go.

               EXT. OXFORD CIRCUS - DAY

               An abrupt transition.  Morning rush hour, Brixton 
               Underground station to Oxford Circus.  James fights his 
               way through the crowd up the underground steps leading to 
               the street.  He is late.

               EXT. LANGHAM PLACE - DAY

               James runs away from CAMERA towards Broadcasting House.

               INT. NEWS CONFERENCE ROOM - DAY

               Same time, Moulded plastic chairs are ranged along the 
               walls of the room.  Some journalists stand, some are half 
               asleep.  The feel of a morning assembly.

               Seated at the only desk, by the door, sits the EDITOR-IN-
               CHIEF, While waiting he pretends to look at papers.

               The tone of these meetings is restrained, weary.

               The Editor speaks with short pauses between each point.  
               Quietly, as though talking to himself.

                                     EDITOR
                         Use of this word "finally".  We've 
                         had this one before.  Difficult 
                         when it gets...

               James come in.  The Editor ignores him pointedly.  There 
               are no more seats.  James stands somewhere inconspicuous.

                                     EDITOR
                         ...when it gets too close to 
                         'finally' the main points of the 
                         news... Now today.  Not very sexy 
                         list.  We can't live off all these 
                         court cases...Royals...What's 
                         Charles giving Diana for her 
                         birthday?

                                     1ST. JOURNALIST
                         He's not telling.

                                     EDITOR
                         Better follow him  around, I 
                         suppose.

                                     2ND. JOURNALIST
                         Newcastle is following Charles to 
                         see if anyone throws a bottle at 
                         his car like last time.

                                     EDITOR
                         Good... Now, I'm going to drop 
                         this panda business unless something 
                         happens soon.

                                     2ND. JOURNALIST
                         We've got two people down the zoo 
                         looking into the cage.

                                     EDITOR
                         Give it one more day.  These scrap 
                         iron merchants on, where is it, 
                         Gritviken Anything in that?

                                     JAMES
                         Could be.

                                     EDITOR
                         Let's keep an eye on it then.  
                         Okay, I'm just thinking aloud.  
                         Let's take the list in order.  
                         Cabinet reshuffle.  Chris?

                                     1ST JOURNALIST
                         Bob is ringing round the ministries 
                         finding out where everyone is going 
                         to be.  That'll come to fruition 
                         later this morning.  John'll be at 
                         Caxton Hall.  We'll try and lay on 
                         a radio car.

               Through this last speech we CLOSE IN on James.  Behind his 
               news prospects sheet he is reading a letter.  We glimpse 
               the letter heading: 'GOLDBOOKS'

                                     EDITOR
                         Prime Minister is on the Jimmy 
                         Young Show at ten-thirty.  We should 
                         get something out of that.  Now, 
                         matter Irish...

               INT. JAMES' FLAT - EVENING

               James is clearing a desk he has against a wall, in 
               preparation for work on his Suez book.  It is a desk that 
               has not seen much use before, piled high with clutter.  He 
               brings over a lamp for it, arranges the typewriter in its 
               centre.  Various London library books are arranged along 
               one edge.

               On the wall above the desk, James pins a large map of Europe 
               and the Mediterranean.  He sits at the desk, lines up a 
               couple of pencils...and picks up a book.

               INT. RESTAURANT - DAY

               Langan's, Piccadilly.  Gold and James are met at the door 
               by the HEAD WAITER, Gold is obviously known here.  
               Businessmen, media people, agents, conspiracy, urgency, 
               babble.  Cornucopia too - dessert trolley, cheese trolley, 
               something being flambee'yd at a table.

               ANOTHER SHOT through the diners we find Gold and James 
               already seated.  The main course has been cleared away.  A 
               clock shows the time to be ten to three.

                                     JAMES
                         I was only ten years old at the 
                         time, but it was the first 
                         international crises I can remember.  
                         It's obviously a key point, and 
                         I've always thought that sooner or 
                         later we would have to re-examine 
                         Suez in the light of subsequent 
                         events.  And now, suddenly, with 
                         this Falklands business on us, 
                         it's quite clear we do need to 
                         take another look at 1956.  The 
                         way I see the book is that it would 
                         get away completely--

               The waiter has wheeled up the dessert trolley.  Gold has 
               been examining it for the last few seconds before breaking 
               in.

                                     GOLD
                         Would you like a dessert...I'm 
                         having one.

                                     JAMES
                         No thanks.  I'd like to break away--

                                     GOLD
                         I'll have some of that.

                                     JAMES
                         ...break away completely from--

                                     GOLD
                         And some of that.  Sorry.

                                     JAMES
                         ...from all the moralising and 
                         talk of national humiliation that 
                         is now the standard line on Suez...

               Gold has a great forkful of gateau near his face.

                                     GOLD
                         Yes...You're not a socialist then?

                                     JAMES
                         No.  I'd want to--

                                     GOLD
                         Good.

                                     JAMES
                         I'd want to set out events as they 
                         happened.  The way I see it is 
                         this: the British Empire was an 
                         ideal.  It may have become totally 
                         obsolete by the middle of this 
                         century, but it wasn't totally 
                         dishonourable to try and defend 
                         its remains and try and salvage 
                         some self-respect, which is what I 
                         think the Conservatives were trying 
                         to do.  Then there's the essential--

                                     GOLD
                         Are you going to have coffee?

                                     JAMES
                         Yes, please.

                                     GOLD
                         And you'll join me in a sambucca?

                                     JAMES
                         Thank you.

               Gold speaks to the waiter as James continues.

                                     JAMES
                         ...there's the business of the 
                         British collusion with Israel.  Of 
                         course it's proved beyond all doubt 
                         now, but I want to set it in the 
                         context of diplomacy and warfare.  
                         I mean, if you're about to attack 
                         one country, it makes sense to 
                         encourage neighbouring countries 
                         to attack it to.  The French 
                         understood this.  They could never--

               The waiter brings the coffee.  Gold is lighting a cigar, 
               having offered one to James.

                                     JAMES
                         The French could never make out 
                         all the embarrassment and breast-
                         beating of the British.  My enemy's 
                         enemy is my friend.  It's as simple 
                         as that.  If we had not been so 
                         scrupulous we would not have been 
                         so ashamed.

               The waiter brings the sambuccas.  We CLOSE IN on the drinks 
               as James goes on talking.  Gold puts a match to James's 
               drink on this next line.

                                     JAMES
                         Now it's as if we discovered 
                         ourselves again.  We're acting 
                         independently when the standard 
                         line has always been that after 
                         Suez we couldn't lift a finger 
                         without the Americans.

               INT. ARCADE - DAY

               Gold and James stroll through the arcade, bloated from 
               their lunch.  Both are slightly drunk.  Gold is expansive.

                                     GOLD
                         Personally James, I'm very excited 
                         by this new arrangement we have.  
                         It gives us direct access to 
                         literally hundreds of American 
                         collages.  Twentieth century history 
                         is a growth area over there, don't 
                         ask me why.  Your readership will 
                         be first and second year American 
                         collage students...

                                     JAMES
                         Freshman and sophomores...

                                     GOLD
                         You know the lingo.  Jolly good.  
                         So your language will have to be 
                         simple, not stupid, mind, but 
                         simple, very, very simple, and 
                         always remember it's an American 
                         readership.

                                     JAMES
                         Like I was saying, the American 
                         angle in Suez is very important.  
                         I wouldn't want to say they let us 
                         down.  I think that's wrong.  A 
                         good ally is one who doesn't back 
                         you up in your mistakes, who tells 
                         you when to pull back.  And the 
                         Americans were good allies.  Simple 
                         as that.

               James is immensely pleased with his own performance during 
               this speech.  Gold, however, is more interested in something 
               he has seen in a shop window.  As soon as James finishes, 
               Gold mumbles an apology and plunges into the shop.  James 
               follows him in.

               INT. NEWSROOM - DAY

               A lull in the action.  Most of the journalists are eating 
               out.  A few eat sandwiches, smoke, chat, read.  A background 
               television shows crowd scenes from Argentina.

               James sits with a plastic cup of coffee reading intently.

               He stands at the window looking out over the roofs.  Then 
               he turns abruptly, picks up a telephone and dials.

                                     JAMES
                         Is that London Midweek?  Susan 
                         Barrington.

               EXT. A SUBURBAN STREET - NORTHWEST LONDON - DAY

               James turns off the street up the front path of a 
               nondescript per-war semi.

               INT. JAMES'S PARENTS HOUSE - DAY

               MR. PENFIELD comes into the hall to answer the door.  He 
               is tired-looking man in his sixties.  James enters.  The 
               two men fumble awkwardly between a handshake and an embrace.  
               It is James who favours the former.

                                     MR. PENFIELD
                         Hello, Jimmy.

                                     JAMES
                         Dad.

                                     MR. PENFIELD
                         Come into the kitchen.  I'm just 
                         making your mother's tea.

               INT. KITCHEN - DAY

               Mr. Penfield fusses inexpertly at the stove.  James leans 
               in the doorway.

                                     JAMES
                         So how is she?

                                     MR. PENFIELD
                         Well, she doesn't complain much.  
                         You know what she's like.  She 
                         keeps asking when you're coming...

                                     JAMES
                         I'm sorry about Saturday, Dad.  It 
                         was just impossible to get away.

                                     MR. PENFIELD
                         Oh she knows you're very busy, 
                         especially now, with everything 
                         going on...the doctor said to try 
                         her on solids, but she's been right 
                         off her food...You take this up to 
                         her.  Tell her you made it.  She'll 
                         like that.

               James picks up the tray - tinned tomato soup, buttered 
               bread, and a cup of tea.

               INT. BEDROOM - DAY

               MRS. PENFIELD lies on her back, dozing.  She is plainly 
               very ill.  James sits at the bedside.  The tray of food 
               cools on a bedside table.  We have a sense of time passing.

               Mrs. Penfield opens her eyes.  James kisses her on her 
               cheeks.

                                     MRS. PENFIELD
                         Jimmy.  I knew you'd come today.  
                         I said to Dad this morning, that 
                         boy'll be here this morning, just 
                         you see.  He said don't get your 
                         hopes up, but I knew...

               This speech appears to exhaust her.  Hey eyes close.  She 
               keeps hold of James's hand.  She murmurs.

                                     MRS. PENFIELD
                         Have you got to do straight off?

                                     JAMES
                         No, not yet.

                                     MRS. PENFIELD
                         Good...stay here a bit.

               James sits.  His mother falls into a deep sleep.

               INT. LIVING-ROOM - EVENING

               Mr. Penfield sits drinking tea and watching TV.  He stands 
               when James enters and turns the set off.

                                     JAMES
                         She's asleep.

               Mr. Penfield indicates a seat to James.

                                     MR. PENFIELD
                         Everyone's been marvellous really, 
                         Jimmy.  The neighbours come and 
                         sit with her while I'm at work.

                                     JAMES
                         That's good.

                                     MR. PENFIELD
                         And Joe Ramage - do you remember 
                         him?  He comes and helps out in 
                         the shop.

                                     JAMES
                         Yes, you said.

                                     MR. PENFIELD
                         Now, are you going to have some 
                         more tea?

                                     JAMES
                         No, thanks Dad.

                                     MR. PENFIELD
                         Or a beer.  I've got some in.

               James shakes his head.  There is a long awkward silence, a 
               hopeless silence that is particular to both father and 
               son.  Finally James gets to his feet.

                                     JAMES
                         I've got to be going.  I've got a 
                         meeting tonight.

                                     MR. PENFIELD
                         The bed's all made up if you want 
                         to stay.

                                     JAMES
                         I'll ring you in the next couple 
                         of days.

               Mr. Penfield stands and nods.  This is a familiar exchange.  
               Finish on him.

               INT. BARBICAN ARTS COMPLEX - AFTERNOON

               James and Susan arrive at the Barbican together.  Their 
               conversation is a little detached from its subject matter.  
               They are feeling each other out.  They are not disagreeing 
               here.  As they talk they make a complicated route through 
               the Arts Centre, always on the verge of getting lost.

                                     JAMES
                         What did you think of that Wadja 
                         film?

                                     SUSAN
                         I quite liked it.  I wasn't as 
                         enthusiastic as everyone else.

                                     JAMES
                         I thought it was tremendous.

                                     SUSAN
                         I think it went on rather too long.

                                     JAMES
                         I couldn't bear for it to end.

                                     SUSAN
                         And I didn't like that man.

                                     JAMES
                         Oh, but he was terrific.

                                     SUSAN
                         And the shape of it all.  It was 
                         sort of...shapeless. 

                                     JAMES
                         Really?  I thought those long 
                         flashbacks were extremely good.

               INT. LIFT - AFTERNOON

                                     JAMES
                         You don't like flashbacks because 
                         your mother's a historian.

                                     SUSAN
                         Good theory.  But I like my mother.  
                         I have no aversions to what she 
                         does.

                                     JAMES
                         Too bad.  What did your father do?

                                     SUSAN
                         My real father?  Well, he was a 
                         flashback.

               They laugh as they step out of the lift.

               INT. BARBICAN ART GALLERY - LATE AFTERNOON

               A little later.  A Private View.  A discreetly murmuring, 
               wine, canapés.

               The paintings - painfully pretentious - represent various 
               forms of aesthetic self-consciousness.

               James and Susan look at the pictures, but make no reference 
               to them.  They spend a little time in front of each one 
               before moving to the next.  James speech is broken by 
               moments of contemplation.  As they move on again, he picks 
               up his thread.

                                     JAMES
                         Everyone describes the same process.  
                         At first it is exciting.  You're 
                         at the centre of the world.  As 
                         soon as anything happens, you're 
                         the first to know about it.  And 
                         there are deadlines a dozen times 
                         a day, even more, and that's 
                         intimidating and exciting.  Then 
                         you get the hang of it and the 
                         excitement wears off.  Your a clerk 
                         in a rather dowdy Office.  There's 
                         none of the glamour of television, 
                         or the penetration of serious 
                         journalism.  You're a processor of 
                         semi-official news.  Some people 
                         leave at this stage.  Then, if you 
                         hang on, and especially if you're 
                         promoted, you discover a new kind 
                         of pleasure.  You're pleased by 
                         the ease with which you can write 
                         summaries and bulletins from news 
                         agency printouts, by the way you 
                         ca judge length.  Ending a broadcast 
                         on the dot, having everything run 
                         smoothly, selecting a running order 
                         that makes sense, knowing 
                         instinctively what you can and 
                         cannot do.  Professionalism.

                                     SUSAN
                         And you're at this third stage

                                     JAMES
                         No, there's a fourth.  Numbness.  
                         You do everything right, but you 
                         feel nothing either way.

                                     SUSAN
                         I think you're exaggerating.  And 
                         if you aren't, you should jolly 
                         well change your job.

                                     JAMES
                         Oh yes?

                                     SUSAN
                         Yes.  You're much too old to making 
                         a drama out of alienation, or 
                         whatever you call it.  You've got 
                         to take responsibility for your 
                         own happiness.  That's what I think 
                         anyway.

               Susan has moved on a couple of steps and is bending forwards 
               to look at a picture.  James smiles at her wonderingly, a 
               little deflated, but impressed.

               INT. JAMES' FLAT - EVENING

               Jeremy is sprawled in a chair with a drink.  James is 
               standing.  Muted piano music from the stereo.  EDWARD has 
               just entered.  The other two have been waiting for him.

                                     JAMES
                         It's the Poet Laureate himself.

               Edward approaches.  He is a contemporary of the other two, 
               but looks much younger and less worldly in manner.  He is 
               slightly nervous.  He works on a literary magazine and he 
               is a poet whose work is just beginning to be recognised.

               The three are old friends.  Jeremy and James keep up their 
               friendship with Edward because they recognise his talent, 
               and this makes them feel more authentic.  Edward keeps up 
               with them because he is lonely and his own life is rather 
               dull.  However, he does distrust them a little.  And they 
               keep his talent in place by teasing him.

               As Edward enters the other two applaud.

                                     JEREMY
                         How sweet.

               Edward makes a nervous mock bow.

                                     EDWARD
                         Thank you.  Have you two been 
                         smoking that illegal stuff again?

               James pours wine into Edward's glass.

                                     JAMES
                         We were admiring your poem in the 
                         TLS, Edward.

                                     EDWARD
                         Ah, yes.

                                     JEREMY
                         It's terribly good.

                                     EDWARD
                         Don't tell me you've actually read 
                         it, Jeremy.

               James picks up the TLS and waves it at Edward.

                                     JEREMY
                         Committed to memory.  Forever.

                                     EDWARD
                         I see.

                                     JAMES
                         Blasé and epicene.

                                     JEREMY
                         We were just chortling over that.  
                         Blasé and epicene.  It perfectly 
                         describes the new Foreign Secretary.  
                         So--I hope you don't mind, Edward, 
                         I pinched it for my piece today.

                                     EDWARD
                         Attributed?

                                     JEREMY
                         Of course.

                                     EDWARD
                         Why, is there a new Foreign 
                         Secretary?  Who was the old one 
                         anyway?

                                     JEREMY
                         It needn't concern you, Edward.  
                         James has got some news.  He needs 
                         a poet's advice.

               Jeremy pats a seat.  Edward sits down.

                                     JAMES
                         C'mon.  I don't want any Jones 
                         about this.

                                     JEREMY
                         No jokes.  James is in love.

                                     EDWARD
                         Congratulations.  Who with?

                                     JEREMY
                         A glamorous young lady way above 
                         his station...

                                     JAMES
                         Bastard.

                                     JEREMY
                         Name so Susie Barrington.  Daughter 
                         of the eminent historian, Anne 
                         Barrington, step-daughter of the 
                         scandalous Matthew Byrd the 
                         acclaimed sack-artist...

               Lay over Jeremy's account on next scene and FADE DOWN 
               SLOWLY.

               INT. SUSAN'S FLAT - LATE EVENING

               A sumptuously cluttered place.  A chesterfield.  Deep 
               armchairs, silk cushions, many prints, coffee table, books.  
               Clearly an inherited place.

               Susan is pouring coffee.  James sits across from her, jacket 
               off, sunk in cushions.

               JEREMY'S VOICE OVER RECEDES.

                                     SUSAN
                         Mummy and I, we were more like 
                         lovers, really, or sisters.  Then 
                         a couple of years after Daddy died, 
                         and not long after I left Oxford, 
                         she started seeing various men and 
                         I was furious.  I really was upset.  
                         I stopped going home.  I never 
                         phoned.  I went round telling 
                         everyone how awful her books were.  
                         And she hardly seemed to notice, 
                         and that made me angrier.  Then I 
                         got a job I was interested in, and 
                         I started to see lots of men, and 
                         I suppose I grew up a little and 
                         began to understand.  So I wrote 
                         her a long letter, almost seven 
                         pages, saying how sorry I was, and 
                         how I was worried that we were 
                         drifting apart.  And do you know, 
                         she wrote me a poem, a really 
                         beautiful poem about mothers and 
                         daughters.

                                     JAMES
                         How nice.

                                     SUSAN
                         It makes me weepy just to remember 
                         it.  So we were fine again, and 
                         then she got married to Matthew 
                         who's a womaniser and a bit of a 
                         yob, but quite nice really, makes 
                         TV commercials.  What about yours.

                                     JAMES
                         Both dead.

                                     SUSAN
                         That must be rather nice, in a 
                         way.  I mean, you don't have any--

               The door bell RINGS loudly.

                                     SUSAN
                         Damn.  They're early.

                                     JAMES
                         Who?

                                     SUSAN
                         I called you a taxi.

                                     JAMES
                         Very thoughtful.

                                     SUSAN
                              (a gesture of 
                              helplessness)
                         Well, you know...

               EXT. FRONT DOOR - SUSAN'S FLAT - NIGHT

               A minute later, James and Susan stand at the front door.  
               Portico and steps down to the street.  Taxi waits.  They 
               kiss, Susan draws back.

                                     JAMES
                         Again?

                                     SUSAN
                         Yes, if you like.  Call me at work.

               James descends the stairs.  Susan closes the door.

               INT. COCKTAIL BAR - EARLY EVENING

               A cocktail bar, a self-conscious imitation of the American 
               model.  James and Jeremy sit on high stools at the bar.  
               Tall colourful drinks are being set down in front of them.  
               On a TV there are scenes of the departing Royal Navy fleet.

                                     JEREMY
                         To the Fleet.

                                     JAMES
                         To the Fleet.

                                     JEREMY
                         And the Argies.

                                     JAMES
                         The Argies.

               Jeremy reaches into his inside pocket and pulls out an 
               envelope.

                                     JEREMY
                         Now, top secret file.

                                     JAMES
                              (reaching for it)
                         Come on.  Hand over.

               Jeremy outs the envelope out of James's reach.

                                     JEREMY
                         Uh-huh.  Tell me what you think of 
                         this first.

                                     JAMES
                         It's shit.

                                     JEREMY
                         You approve!

                                     JAMES
                         Let me see.

                                     JEREMY
                         Get way.  You'll see when I'm ready.  
                         First I want you to reflect on my 
                         noble behaviour, on how your 
                         interests are closest to my heart, 
                         how I lay awake at night worrying--

                                     JAMES
                         Jeremy, just let me see what you've 
                         got.

                                     JEREMY
                         You're so hard.  All right then.  
                         I was chatting to some people from 
                         the diary page, and the name of 
                         Barrington came up.  I expressed 
                         an interest...

                                     JAMES
                         Oh yes.

                                     JEREMY
                         ...an innocent interest, and found 
                         out that last year Vogue ran a 
                         series called 'Mothers and 
                         Daughters' Number seven, Anne and 
                         Susan Barrington.  Being a decent 
                         loving friend I went to the files 
                         and made a copy for you.

                                     JAMES
                         Let me see.

                                     JEREMY
                         Ah, ah.  There's more.  The piece 
                         celebrates the undying affection 
                         between eminent left-wing historian 
                         and he dazzling daughter.  Then 
                         the news editor, who happened to 
                         be in the room, said that years 
                         ago, when he worked on The Guardian, 
                         Anne Barrington had written a very 
                         good piece on...guess...Suez.  It 
                         was 1966, the tenth anniversary.

               Jeremy hands over the envelope which James now opens.

                                     JEREMY
                         She's never written a book in it, 
                         but she clearly knew a lot.

                                     JAMES
                         Mmm...

                                     JEREMY
                         It's obvious what you have to do.  
                         Your way into the daughter's pants 
                         is through the mother, up the Suez 
                         canal...

                                     JAMES
                         You're so gross.

                                     JEREMY
                         She's very nice, apparently.  Lives 
                         in Norfolk.  And very left-wing.  
                         You'll have to watch yourself there.

                                     JAMES
                         Ha ha...

                                     JEREMY
                         According to this, the daughter 
                         goes up to stay quiet often.  You'll 
                         need to get yourself invited for 
                         the right weekend.

                                     JAMES
                         You've really got it all worked 
                         out, haven't you?

                                     JEREMY
                         No need to thank me, if you don't 
                         want to.  Just pay for these drinks.

                                     BARMAN
                         That'll be eleven pounds, sir

               INT. POLYTECHNIC - DAY

               James walks along a busy corridor in a polytechnic.  In a 
               recess to one side is a games room.  Along the walls are 
               Space Invader machines by the dozen.  Students stand at 
               the machines intently, their faces illuminated by the glow.  
               We SEE some expertly handled Space Invader action.  James 
               approaches one of the players and asks directions.  Without 
               looking up the student points down the corridor.

               INT. CORRIDOR - DAY

               James stands outside the doors or a lecture hall.  Inside 
               a lecture is in progress.  We catch a few words.

               James pushes the door open.

               INT. LECTURE HALL - DAY

               The LECTURER glances back and acknowledges his presence.

               James stands at the back of the hall for the end of the 
               lecture.

                                     LECTURER
                         A vacuum had been created.  If the 
                         United States did not fill it, it 
                         was assumed the Russians would.
                              (A beat)
                         Next week I shall be considering 
                         the extent to which the behaviour 
                         of nation states or governments 
                         may be judged by the moral criteria 
                         we normally apply to individuals.  
                         Thank you.

               The students stand and begin to move out.  James and the 
               Lecturer move towards each other and shake hands.

               INT. LECTURER'S ROOM - DAY

               James and the Lecturer sit separated by a low table.  A 
               tape-recorder is on the Lecturer's side of the table.

                                     LECTURER
                         Well, what you need to understand--

                                     JAMES
                         No, sorry, could you lean forward 
                         a bit when you speak.

                                     LECTURER
                         Oh.  Is this all right?  Um...you 
                         see, through the early autumn of 
                         1956 the Egyptians were running 
                         the canal, their canal, that is, 
                         quite efficiently.  Traffic was 
                         passing through unimpeded, for 
                         Nasser didn't want to provide the 
                         West with any reason for invading 
                         his country.  Is that loud enough, 
                         by the way?

                                     JAMES
                         It's okay.

                                     LECTURER
                         Right.  So by the time the British 
                         and French launched their invasion 
                         at the beginning of November the 
                         main economic reasons for doing so 
                         had largely evaporated.  What 
                         remained, especially for the 
                         British, were the more marginal 
                         and emotional arguments.

               INT. JAMES'S FLAT - EVENING

               The Lecturer's voice continues on the tape.  James pours a 
               drink and he listens and walks towards his desk.

                                     LECTURER (V.O.)
                              (from tape)
                         Using the language of private 
                         behaviour you could say that this 
                         was an affair of the heart - the 
                         idea was to teach Nasser a lesson, 
                         to appear capable of acting 
                         independently, and to maintain 
                         face in the world, particularly 
                         the Arab world.

               James switches the tape recorder off.  He picks up the 
               Vogue 'Mothers and Daughters' article and pins it to the 
               map of Egypt.

               INT. A COMMUNITY HALL - EVENING

               A poetry reading, given by Edward Long, has just come to 
               and end.  There are about fifty present, and empty chairs 
               behind.  Jeremy and James are in the audience.

               Edward is reading the last stanza of a poem.

                                     EDWARD
                              (reading)
                         "And so the ferry moves across the 
                         bay, Top heavy as a wedge of wedding 
                         cake, Leaving us to return to our 
                         hotels, Gulls in nautical trim cry 
                         their farewells, Then drop with 
                         avaricious eyes to tale, Souvenirs 
                         from the debris of the day."

               He pauses.

                                     EDWARD
                         Thank you very much.

               There is earnest applause which peters out.  Now, a tense 
               silence.

               Edward stares impassively at the audience until he catches 
               the movement of a half-raised arm.

                                     EDWARD
                         Yes.

               The questioner is a middle-class middle-aged woman, rather 
               twittery.

                                     WOMAN
                         Me?

                                     EDWARD
                         Yes.

                                     WOMAN
                         Oh, yes, well I thought I'd start 
                         the thing off by asking, you know, 
                         and you'll probably think it's a 
                         stupid question that you get all 
                         the time, but could you tell us a 
                         little of how you actually get 
                         ideas, I mean, your poems are quiet 
                         extraordinary and beautiful and I 
                         wondered how they, well, you know, 
                         came about.

               During this, Jeremy has caught James's eye and they have 
               started to giggle silently.  This continues through the 
               scene.  They hunch up and turn away from each other, shaking 
               quietly, half recover, become aware of each other, or of 
               the absurdity of the questions, or of Edward's attempts to 
               deal with them, and they fold up once more.  From Edward's 
               POV we SEE their heads duck down.

                                     EDWARD
                         It isn't a stupid question, but it 
                         is a difficult one to answer.  I 
                         get ideas in much the same way as 
                         anyone does.  Perhaps the difference 
                         is that I take them more seriously.  
                         I write them down - odd scraps of 
                         things.  Then I seem to know when 
                         I'm ready to start work on a poem.  
                         It takes shape to start work on a 
                         poem.  It takes shape as I write 
                         it, very slowly.

               While Edward answers, the woman nods vigorously.

               James and Jeremy recover in the brief pause between 
               questions.  They lift tear-stained faces, then crack up at 
               the next question.

               A young man, anorak, flat auto-didact's 'does the team 
               think' voice.  A piece of paper in hand, he stands, 
               trembling.

                                     MAN
                         You are one of the most praised 
                         poets of your generation of younger 
                         poets, and the Sunday Times has 
                         called you a cross between Dante 
                         and Philip Larkin.  What is your 
                         reaction to this?

                                     EDWARD
                         Well, it's silly really.
                              (catching sight of 
                              Jeremy and James)
                         It's journalism, yes?

               A serious-looking student has his hand raised.

                                     STUDENT
                         Yes.  What is the poet's role in 
                         society today?

               CLOSE ON James, drawing breath.  A sudden sharp yelp from 
               Jeremy fighting for air.  All heads turn.  The two are 
               almost off their seats onto the floor.  We move CLOSE ON 
               them and hear their moans or 'No', 'No' and 'Stop', 'stop' 
               and 'Sorry!'  

               INT. NEWSROOM - LATE MORNING

               The newsroom.  The teleprinters.  The sheets arriving on 
               the copytaster's desk.  On the TV monitor there are pictures 
               of the Fleet.  On the P.A. a voice announces 'Edward Du 
               Cann on Four'.

               We find PHILIP standing by the bulletin desk, He is a 
               graduate trainee, 23 years old.  Earnest in manner, slightly 
               ingratiating.

               Immensely pleased with what he has just read, he moves 
               towards the summaries desk with a piece of paper in each 
               hand.

                                     PHILIP
                         James, look at this.  At last.

               James is standing by a secretary dictating.

                                     JAMES
                         Wait...and with talks at the United 
                         Nations still making little 
                         progress, tension and anxiety 
                         settled on MPs of all parties in 
                         Westminster.  Speaking on the Jimmy 
                         Young Show earlier today, Mrs 
                         Thatcher said the prospects of a 
                         peaceful solution did not look 
                         encouraging.  What is it?

                                     PHILIP
                         Take a look at these.

               James glances over the sheets.

                                     JAMES
                         Not bad.

                                     PHILIP
                         Fifteen news items.  I got exactly 
                         the same running order as the 
                         bulletin desk.  They're all old 
                         pros.

                                     JAMES
                         Terrific.

               Philip moves on to show someone else nearby.  We hear him 
               explain his triumph again.

               James makes a gesture and expression of contempt for the 
               benefit of the secretaries.

               A group of journalists passes through.  James catches one 
               of them by the arm.

                                     JAMES
                         Can I use the phone in your office?

                                     JOURNALISTS
                         Sure.

               INT. OFFICE - LATE MORNING

               A small bare office.  A few minutes later, James is speaking 
               on the phone to Susan.

                                     JAMES
                              (into phone)
                         You're being very elusive...tell 
                         them you're ill...or leave early 
                         then...do it properly, tell them a 
                         lie...Okay, come when you can.  
                         You've got the address...yes, it 
                         will be nice.  'Bye..

               INT. JAMES'S FLAT - NIGHT

               Susan sits cross-legged in the centre of James's bed.  
               James lies along one edge, head propped on elbows.  They've 
               been drinking coffee.  We have the sense of a long evening 
               of talk, but not much else so far.  A pause before Susan 
               speaks.

                                     JAMES
                         Why not stay?

                                     SUSAN
                         I have to be up early.
                              (She stands)

                                     JAMES
                         Me too.

                                     SUSAN
                              (straightening 
                              herself at the 
                              mirror. James 
                              standing close)
                         Two or three years ago I would 
                         have stayed.  And fucked you.

                                     JAMES
                         Too late.  Just my luck.

               He stands behind her and kisses her neck.  She turns and 
               they kiss.  Susan pulls away.  She taps James's nose with 
               her forefinger.

                                     SUSAN
                         Now I'm more wary.  I must be 
                         getting old.

               She reaches for her coat.  James helps her.

                                     JAMES
                         You don't trust me.

                                     SUSAN
                         I don't trust anyone.  That's what 
                         comes of working in television.

                                     JAMES
                         In radio we're different.

                                     SUSAN
                         I bet.  Thanks for the drink.

               He opens the door.

                                     JAMES
                         I might see you in Norfolk over 
                         the weekend.

                                     SUSAN
                              (smiling)
                         You just might.

               She closes the door on her smile.

               INT. SQUASH COURT - DAY

               A day later.  A glass-fronted Squash Court.  James and 
               Jeremy are into a game.  Both are inept and very unfit.  
               We COME IN on a rally.  Jeremy misses an easy ball and 
               let's his racket drop.  James sits down with his back to 
               the wall.  Jeremy gets his cigarettes from the corner of 
               the court.  They inhale smoke as if it were fresh air.

                                     JEREMY
                         That's enough of that.

                                     JAMES
                         We've been playing ten minutes for 
                         Christ sake.

                                     JEREMY
                         Far too long.

               A pause.  Some keen SQUASH PLAYERS appear at the door, 
               peer in and go away.

                                     JAMES
                         What have you been up to?

                                     JEREMY
                         Well, everyone's desperate for a 
                         new Falkland's angle.  Purdy's 
                         come up with a real dog.  Worker's 
                         rights in Argentina.  So I've been 
                         running round getting people to do 
                         things.  But no one's keen.  Workers 
                         rights.  When did anyone on that 
                         paper give a damn about workers 
                         rights?  I said to Purdy, "Look, 
                         tits, bingo, jingo, horoscope, 
                         sport, celebs, gossip and the 
                         occasional firm stand on--"

                                     JAMES
                         The torture of small children--

                                     JEREMY
                         On the torture of very small 
                         children, but don't start telling 
                         them about their rights--

                                     JAMES
                         Hold those rights.

                                     JEREMY
                         Tame those rights...you know, we're 
                         even freighting in a couple of 
                         exiled Argie trade unionists from 
                         Paris for a TV tie in.  One of 
                         them had his balls tap-danced on 
                         by the secret police.  The other 
                         one had to be hosed off the wall 
                         of his cell after the police-- yes 
                         my good man?

               A muscular COACH in a tracksuit, is rapping on the glass 
               door.  And opening it.  He wears a towel around his neck.

                                     JEREMY
                         I'm sorry.  This is a private 
                         conversation.  You'll have to wait 
                         outside. 

                                     COACH
                         You can't smoke in here.  This is 
                         a squash court.

                                     JEREMY
                         Well we booked it for a smoke, 
                         didn't we James?

                                     JAMES
                         And we're not quiet finished.

                                     COACH
                         Come on.  Out!

               A few players have gathered to watch outside.

                                     JEREMY
                         The court is ours for another half 
                         hour.  Please run along.

               The coach advances into the court, picks up their rackets 
               and stands over them.  He pushes a racket under Jermey's 
               chin.

                                     COACH
                         I said, out.

                                     JAMES
                         On the other hand, we might be 
                         more comfortable at the bar.  I've 
                         got some news on Suez.

                                     JEREMY
                              (racket still under 
                              his chin)
                         A serious drunk might be of use, I 
                         suppose.

               INT. JAMES' FLAT - MORNING

               James adjusts his tie in the mirror.  The PHONE RINGS, Lay 
               over James's voice into SCENES 38 and 39.

                                     JAMES
                         Ohm hello, Dad, I've been meaning 
                         to phone you.  How is she?...Oh...in 
                         the night?...Oh God.  What does 
                         the doctor say?...Look, I will, I 
                         will.  I promise.  But it's 
                         impossible at the moment, now with 
                         the crisis on.  I'm working night 
                         and day...Look, tell her I'll come 
                         as soon as I can.  I promise...Look, 
                         Dad, I've got to dash.  Give her 
                         my love.  Yes...bye.

               EXT. BRIXTON - DAY

               James walks down a Brixton street, down a narrow road to a 
               set of lock-up garages.  A group of black kids are playing 
               football here.  James steps round puddles, careful not to 
               muddy his shoes.  He scowls at the kids and unlocks his 
               garage.

               James backs his car out of the garage.  An early sixties 
               Jaguar saloon.  He gets to close to the garage door.  The 
               game of football rages around his car, as if it was not 
               there.

               EXT. CAR WASH - DAY

               Ten minutes later.  A car wash.  From the driver's POV we 
               SEE the revolving brushes advance and engulf the car.

               The phone conversation ends.  James reaches down and pushes 
               a tape into the car tape deck.  We will HEAR the recording 
               all through James's journey to SCENE 41.

                                     LECTURER (V.O.)
                              (from tape)
                         You see, if we talk of a nation, 
                         like an individual, we can also 
                         speak of it acting deceitfully.  
                         Britain and France had entered 
                         into a secret agreement with the 
                         Arabs' deadly enemy, the Israelis.  
                         The agreement was signed or 
                         initialled by the Foreign Secretary, 
                         Selwyn Lloyd on about October 23, 
                         at Sevres.  The Israelis were to 
                         attack Egypt on an agreed date.  
                         British planes based in Cyprus 
                         were to precision bomb Egyptian 
                         airfields to protect Israeli cities 
                         from retaliation.  After putting 
                         out an ultimatum to both side to 
                         withdraw to ten miles from the 
                         Canal, which of course the Egyptians 
                         would have to ignore since the 
                         Canal is 100 miles inside their 
                         territory, the British and the 
                         French would invade on the pretext 
                         of 'separating the combatants'.  
                         That became something of a catch 
                         phrase - 'Separating the 
                         combatants'.

               EXT. CITY - DAY

               James's car makes its way through the city.

               EXT. M11 MOTORWAY - DAY

               An hour later.  The M11. James's car speeds away from us.

               EXT. NORTH NORFOLK - DAY

               An hour and a half later.  James drives along a country 
               road.

               EXT. THE BARRINGTON HOUSE - DAY

               A small BOY, TOM, peers over a wall at James's car as it 
               sweeps into the drive.

               INT. LIBRARY - DAY

               Five minutes later.  The Barrington house.  The library.  
               James waits alone.  The house stands in its own grounds -  
               an old rectory, spacious, but not over-grand.  Much charm.  
               19th and 20th Century oil paintings, a serious reader's 
               library.  Pleasant disorder, but no squalor.  There is one 
               housekeeper.

               Somewhere in the house a PHONE RINGS.  There are footsteps.  
               James crosses to a window which faces out over the garden 
               which is large and well-kept.At some distance away a 
               gardener is raking leaves.  Another man comes and talks to 
               him and then disappears from sight.  This is MATHEW, Anne 
               Barrington's husband.

               The door opens slowly.  TOM, the ten year old son of 
               Matthew, stares at James.

               After a pause.

                                     JAMES
                         Hello.

                                     TOM
                         Hello.

                                     JAMES
                         I'm waiting for your mother.

                                     TOM
                         She said awfully sorry, make 
                         yourself comfortable, she won't be 
                         long. .

                                     JAMES
                         Thanks.

                                     TOM
                         Why not sit down and wait?

                                     JAMES
                         Okay, I will.

                                     TOM
                         She's not my mother, anyway.  My 
                         mother's in Italy.

                                     JAMES
                         Oh, I see.

                                     TOM
                         Have you come to talk about me?

                                     JAMES
                         Not at all.  History.

               At this Tom leaves the door and advances into the room.

                                     TOM
                         What period?

                                     JAMES
                         Suez.  1956.

                                     TOM
                         Do you want to hear my list of 
                         English Kings and Queens?

                                     JAMES
                         All right.

                                     TOM
                         It goes from Henry VIII.
                              (In rapid monotone)
                         Henry VIII, Edward IV, Mary, 
                         Elizabeth I, James I, Charles I, 
                         Charles II, James II, William and 
                         Mary, Ann, George I, II, III and 
                         IV, Victoria, Edward VII, George 
                         V, Edward VIII, George IV, Elizabeth 
                         II.

                                     JAMES
                         What about the Cromwells?

                                     TOM
                         They don't count.

               Anne Barrington comes in.  Aged about fifty-five, very 
               attractive still, and fit.

                                     ANN
                         Mr. Penfield.  I am sorry to have 
                         kept you.

                                     JAMES
                         It's kind of you to see me.

                                     ANN
                         Tom, Daddy would like to see you 
                         in the garden.  And will you ask 
                         Betty to bring us some coffee.  
                         And remember to say 'please'.

               Tom leaves.  They watch as he closes the door with 
               exaggerated care.

                                     ANN
                         He's a little unhappy.  I hope he 
                         wasn't a nuisance?

                                     JAMES
                         He was delightful.

               INT. STUDY - DAY

               Ten minutes later.  Anne sits behind her desk, James sits 
               across from her.  The HOUSEKEEPER sets down a tray and 
               leaves.

               Anne appraises James and deals with the coffee, and for 
               the first time in the film we take a long, hard look at 
               him too.  The light flatters.  The notebook at his side, 
               his patience and deference, the well-cut suit...he is at 
               least credible.

                                     ANN
                         My first husband worked for the 
                         BBC.  I doubt if anyone there 
                         remembers him now, just another 
                         long dead diligent administrator.  
                         He would have been useful in the 
                         fight to preserve the BBC's 
                         independence during the Suez crisis - 
                         one of the few things he was 
                         passionate about.  I became involved 
                         too.  I started work on a book 
                         that would have been published on 
                         the tenth anniversary of Suez.  
                         Then he died, and I loots the will 
                         to write it.  By the time I was 
                         over his death, other books had 
                         been published, and it wasn't worth 
                         going on.

                                     JAMES
                         What a shame.

                                     ANN
                         It wasn't much more than a pot 
                         boiler.Suez was very important for 
                         our generation.  I didn't want it 
                         to be forgotten.  And that's why 
                         I'd like to be able to help you.  
                         But really Mr. Penfield, I looked 
                         through my notes before you came, 
                         they're all very much out of date, 
                         there's been so much published 
                         since.  I don't think I'm your 
                         man.

                                     JAMES
                              (smiling, uncertain)
                         Well, I am a great admirer of your 
                         work.  I read your books on Chartism 
                         when I was still at school.  I'm a 
                         journalist, not a historian.  There 
                         are questions of method, and 
                         approach.  I wondered--

                                     ANN
                         I see.  Are you a socialist, Mr. 
                         Penfield?

                                     JAMES
                         Yes.

                                     ANN
                         Good.  Suez was a minefield for 
                         both parties.

               EXT. GARDEN - DAY

               The Garden, same time.  Tom wanders aimlessly near the 
               house.  He comes to one of the library windows and peers 
               in.

               Unobserved, he watches Ann and James.  Ann is speaking.  
               James interrupts, Anne nods.  James writes something down 
               in his notebook.

               Tom hears his father in the distance calling his name.  He 
               leaves the window and runs.

               INT. CONSERVATORY - DAY

               Lunchtime.  A table spread with white tablecloth, salads 
               and wine.  Set for two.

                                     ANN
                         My husband apologises for not 
                         joining us.  It's not too cold for 
                         you, Mr. Penfield?

                                     JAMES
                         It's fine, thank you.

                                     ANN
                         Since you are a friend of my 
                         daughter's, I think I'm entitled 
                         to call you James, don't you think?

                                     JAMES
                         Please do.  I was beginning to 
                         wonder who this Mr. Penfield was.

                                     ANN
                         And I'd like you to call me Ann.

               James raises his glass.

                                     JAMES
                         To Ann.

                                     ANN
                         To James.  I remember what it was 
                         I was going to say.  We were talking 
                         about forgetfulness.  The Czech 
                         writer Kundera has one of his 
                         characters say that the struggle 
                         of man against tyranny is the 
                         struggle of memory against 
                         forgetting.

                                     JAMES
                         History books are first onto the 
                         bonfires.

                                     ANN
                         If we leave the remembering to 
                         historians then the struggle is 
                         already lost.  Everyone must have 
                         a memory, everyone needs to be a 
                         historian.  In this country, for 
                         example, we're in danger of losing 
                         hard-won freedoms by dozing off in 
                         a perpetual present.

               James is uneasy, a little out of his depth.

                                     ANN
                         Here I am lecturing you.  Have 
                         some pâté.

                                     JAMES
                         Thanks.

               A Pause.  Ann has already emptied her glass.  James has 
               hardly touched his.  Ann refills her own.  Then James, 
               lightly, wanting to be back on familiar ground.

                                     JAMES
                         So I can go ahead and be a historian 
                         without feeling like a poseur.I 
                         shall be fulfilling a citizen's 
                         duty.

                                     ANN
                         If you like.  But don't be too 
                         modest, James.  The citizen's duty 
                         is to remember, not necessarily to 
                         write books.  You are highly 
                         qualified.  You're a responsible 
                         journalist doing what sounds to me 
                         like a very demanding job.  Every 
                         day you take decisions that depend 
                         on your sense of history.  A genuine 
                         tyranny would have to get rid of 
                         people like you.

                                     JAMES
                         You're kind to be so encouraging.

                                     ANN
                         I think you'll do very well.

               She smiles and briefly touches James's hand.  James looks 
               up impassive.

               EXT. BACK GATE TO GARDEN - DAY

               Anne and James are returning from an after-lunch walk.  We 
               have a glimpse of the landscape we will see more of on 
               James's return.

               As they walk they arrive through a back gate into the 
               Barrington garden.  A jet fighter races through the sky.

                                     ANN
                         I've met some of her colleagues, 
                         I'm afraid they struck me as rather 
                         empty people.  Very ambitious, and 
                         charming too.  But not serious.  
                         No politics.

               They walk on.

                                     ANN
                         I do worry about Susan.  Have you 
                         known her long?  She hasn't 
                         mentioned you.

                                     JAMES
                         Actually, we've only just met.  
                         But we're quiet good friends.

                                     ANN
                         It's a pity she couldn't make it 
                         up here today.

                                     JAMES
                         Yes.

                                     ANN
                         She'll be here next weekend.  Why 
                         don't you come too, James?  I'll                       *
                         show you the marshes properly.  If 
                         you're lucky you might even see 
                         the first of the geese arriving 
                         from Siberia.

                                     JAMES
                         Well, I'd hate to be a nuisance.

                                     ANN
                         Don't be silly.  I'll look out 
                         some more Suez material for you.  
                         You'll be very welcome.

               EXT. FRONT OF HOUSE - DAY

               They come round the front of the house to James's car.  He 
               opens the door and shakes Ann's hand.

                                     JAMES
                         Thank you.

                                     ANN
                         We'll see you next week, and if--

               Matthew's car comes sweeping up the drive.  Tom is in the 
               front seat.  Matthew stops his car so that his front door 
               is by James.

               MATTHEW is fifty.  A director of commercials for cinema 
               and television.  Breezy, chunky-faced, keen to be taken 
               seriously.  Essentially good-humoured.

                                     ANN
                         I wish you wouldn't drive so fast, 
                         Mat, dearest.

                                     MATHEW
                         I'll get a bike.  I promise.  Hi!  
                         Just off?

               Matthew and James shake hands over the car doors.

                                     ANN
                         Matthew my husband.  James.  James 
                         is coming to stay next weekend.

                                     MATHEW
                         Very good.  Well, I'll see you 
                         then.

               He strides away with Tom.

                                     MATHEW
                         Come on, Tom.  Let's see if we can 
                         get this thing working.

               James pulls away.  Ann stands watching him till he is out 
               of sight, and a little longer after that.

               EXT. A149 ROAD - DAY

               Ten minutes later.  James drives along the A149 near Clay.  
               He has the window wide open, the radio on.  The great 
               expanse of salt marsh is to his right.  The huge sky.  The 
               mood is triumphant.

               EXT. CENTRAL NORFOLK - DAY

               Half an hour later.  A lonely road in central Norfolk.  
               James brings the car to a sudden halt.  He switches off 
               the engine.  In the silence we are able to hear the car 
               cassette player.  As it plays, James walks round the car 
               till he finds his flat tyre.  He rummages with growing ill-
               temper in the boot.  Two cases of empty wine bottles, a 
               mildewed towel and swimming trunks, but no jack.

                                     LECTURER (V.O.)
                              (from tape)
                         There was a real desire on the 
                         British part to appear virtuous 
                         while behaving aggressively, and 
                         the pursuit of virtue led to many 
                         lies being told, most notable the 
                         Prime Minister's in the House of 
                         Commons on December 20 when he 
                         said that there was 'no 
                         foreknowledge that Israel would 
                         attack Egypt'.  Perhaps we should 
                         reverse the question and ask 
                         ourselves to what extent individuals 
                         behave like governments, who are 
                         bound to act in the national 
                         interest which in turn is rarely 
                         separable from the government's 
                         interest, or that of the class it 
                         represents...

               Furious, he goes to the front of the car and snaps off the 
               tape machine, and stands jiggling his keys in the vast 
               silence.

               A minute later.  James sets off.  The immensity of the 
               landscape, the incongruousness of his clothes... 

               EXT. LONELY ROAD - DAY

               James, walking.

               EXT. ROAD THROUGH WOOD - DAY

               The road passes through a wood.  When BETTY speaks, it 
               surprises both James and us.

               She stands at the head of a little grass track that leads 
               into a wood.  She carries a plastic carrier bag.  She is 
               almost childlike in her friendliness.

                                     BETTY
                         Are you the man from the BBC?

                                     JAMES
                         What?

                                     BETTY
                         Sorry.  I didn't mean to frighten 
                         you.  I thought you must be from 
                         the BBC.
                              (she advances)
                         We've been waiting, see.  And you 
                         don't exactly look like a farmer.  
                         I'm Betty.

               They shake hands.

                                     JAMES
                         James Penfield.

                                     BETTY
                         Come and meet the others.  They've 
                         been waiting for you.

               EXT. WOODS. AIRFIELD PERIMETER - DAY

               James follows Betty through the woods.  A rumbling and 
               whining noise increases in violence and becomes deafening 
               once they leave the wood and cross open ground towards a 
               Military Air Base.  The Peace Camp is near the perimeter 
               fence.  A ramshackle collection of tents, caravans, a tepee 
               and a rough wooden shelter which is the communal area.  A 
               fire burns here.  Various peace signs, Women's Movement 
               sign and slogan.  ('Fight War, Not Wars', etc.)

               Three women are sitting around the fire.  A little further 
               off a MAN is chopping wood.  One of the women, CARMEN, is 
               over sixty.  The other two are in their thirties.  The 
               man, PETE, is a vintage hippy.  A good mix of regional 
               accents among the campers.  Betty leads James to the fire.

                                     BETTY
                         I found a man from the BBC, but 
                         he's not the man.

                                     CARMEN
                         Never mind.  We'll just have to 
                         make do.  Would you like a cup of 
                         tea?  Jill, give the young man 
                         your cup.

                                     JAMES
                              (Dodging smoke from 
                              the fire)
                         Thank you.

                                     CARMEN
                         Sit on that log, dear.

                                     JILL
                         Be careful though, it wobbles.

               The others laugh. 

                                     JAMES
                         Er, listen, I... I've got a 
                         puncture.  I wondered if I might 
                         borrow a jack.

                                     JILL AND CAROL
                         Pete! 

                                     JAMES
                         Sorry to be a nuisance.

               Pete ambles over.  Inscrutable behind much hair.  He 
               registers no awareness of James.  He smokes a roll-up.

                                     CARMEN
                         Pete, do we have a jack?

               Pete inhales, considers and nods almost imperceptibly.

                                     CARMEN
                         Could you look it out for our 
                         friend?

               Pete nods again and returns to chopping wood.

                                     JILL
                         Is the tea all right?  I didn't 
                         ask you if you wanted sugar.

                                     JAMES
                         It's fine, thanks.

                                     CARMEN
                         Now first of all, tell us your 
                         name.

                                     JAMES
                         Penfield.  James Penfield.

                                     CARMEN
                         This is Jill, Carol, Betty, Mandy, 
                         Louise, Pete over there, and I'm 
                         Carmen.

               The women smile and murmur hello as they are introduced.  
               Their friendliness progressively disorientates James.

                                     CARMEN
                         There's another fifteen of us out 
                         at a meeting.

                                     CAROL
                         Would you like us to show you round 
                         the camp.

                                     CARMEN
                         Let him drink his tea, poor man.  
                         I don't know what's happened to 
                         this other fellow.  He said he'd 
                         be here at three.

                                     JILL
                         Lost!

                                     BETTY
                         What do you do at the BBC, James?

                                     JAMES
                         I work in radio news, in London.

               A chorus of 'Oh well then ... 'and 'Great!'  

                                     JAMES
                         But I'm not an interviewer or a 
                         correspondent.

                                     CARMEN
                         That doesn't matter.  As long as 
                         we can get our message through to 
                         someone there.  Jill, where are 
                         those handouts?

                                     JILL
                         They're back here somewhere.  
                         They're a bit crumpled.

               Pete hands a jack to James.

                                     JAMES
                         Oh, great.  Thanks.

               Now James has his jack he begins to back away.

                                     CARMEN
                         Give them here.  This tells you 
                         how the Women's Peace Camp came to 
                         be set up.  All local women at 
                         first, then we had support from 
                         women and men all over the country.

                                     JAMES
                         Very good.

                                     JILL
                         The response has been just amazing.

                                     JAMES
                         Yes.

                                     CARMEN
                         And this sheet tells you all about 
                         the base, the number of missiles 
                         they're going to have, what they 
                         think they're for and so on.

                                     CAROL
                         We've had the local radio down 
                         here.

                                     JAMES
                         Terrific.

                                     CARMEN
                         But what we need is national 
                         coverage.  It's difficult with 
                         this Falklands madness going on.  
                         Do you think you might be able to 
                         do something when you get back?

                                     JAMES
                         I'll suggest it.  Remember though, 
                         we're news, not features.  It might 
                         help if you could get yourselves 
                         attacked by the police.  Anyway, 
                         I'll be back with this soon.  
                         Thanks.

                                     BETTY
                              (close up, eyes 
                              wide)
                         Ordinary people everywhere are 
                         saying 'No, we don't want these 
                         terrible weapons!'  That's news!

                                     JAMES
                         I won't be a moment.

               EXT. PEACE CAMP - EVENING

               James drives down the road towards the airbase.  He stops 
               his car well short of the camp.  He takes the jack from 
               the car and walks towards the camp.  There are more people 
               now moving in and out of the light of the fire.  The sounds 
               of voices, laughter, mostly female.  A meal is being cooked.  
               James sets down the jack where it can be found.  He has 
               been observed throughout by Pete, from the shadows.  He 
               speaks as James is turning back towards his car.

                                     PETE
                         Off then?

                                     JAMES
                         Er, yes, I put the jack by the ... 
                         hut there.  Thanks for your help 
                         ... I... I have to be getting back 
                         ... so ... see you.  And thanks 
                         ... and ... all the best.

               Pete watches James walk away.

               INT. TELEVISION COMPANY ENTRANCE/STAIRS - AFTERNOON

               London.  A day later.  The television company where Susan 
               works.  James is late.  The lift is out of order.  He runs 
               up several flights of stairs with diminishing energy. 

               INT. SCREENING ROOM - AFTERNOON

               Breathless, James bursts into the screening room.  Susan 
               is seated.  Jeremy stands near her, leaning against a desk, 
               smoking.  By contrast, they are calm.

                                     JEREMY
                         Fortunate that I was here to keep 
                         Susan entertained.

                                     JAMES
                         Sorry.  Got held up.  What are you 
                         doing here?

                                     JEREMY
                         Delivering gossip and goodwill.  
                         It seems we'll both be doing 
                         Brighton.
                              (He starts to put 
                              on his coat)
                         Perhaps you should come too.

                                     JAMES
                              (to Susan)
                         Will it be fun? 

                                     SUSAN
                         It was last year.

                                     JEREMY
                         We might be able to dig out a couple 
                         of Suez survivors for you.

                                     JAMES
                         Perhaps I will, then.

                                     JEREMY
                              (Kissing on the 
                              cheek first Susan, 
                              then James)
                         I'm off.  Let's meet.  You promised 
                         to tell me about Norfolk.

                                     JAMES
                         I'll ring you.

               A brief pause and a slight awkwardness after Jeremy leaves.

                                     SUSAN
                              (into microphone)
                         I think we're ready now, thank 
                         you.  And how was Norfolk?  Did 
                         you get on with my mother?

                                     JAMES
                         I think she liked me.

                                     SUSAN
                         Did she talk about me?

                                     JAMES
                         No.  We talked about history, and 
                         Siberian Geese.

               The lights go down.

               We SEE a series of FILM CLIPS about Suez: crowd scenes in 
               Cairo; footage of the Fleet on its way from Malta; the 
               actual invasion; parachutes; Eden at Downing Street; Lloyd 
               at the airport; the protest meeting at Trafalgar Square; 
               fighting in Suez streets.

               James sneaks occasional looks at Susan throughout.  We SEE 
               her in profile, lit by the screen.

                                     SUSAN
                              (As the first 
                              pictures come up)
                         It's not in chronological order.  
                         There's an hour of stuff, of which 
                         the director has to choose four 
                         minutes.  What'll happen is that 
                         I'll choose it for him ... Does he 
                         look like a man on speed?

               Our two minute sequence is presented to represent an hour 
               of film.  When at last it is over and the lights come up, 
               there is a moment of stupefaction.  Susan yawns and prepares 
               to leave.

                                     SUSAN
                         Do you think she's invited you up 
                         for her sake or for mine?

                                     JAMES
                              (kissing Susan's 
                              fingers)
                         I haven't really thought about it.

                                     SUSAN
                              (smiling, mischievous)
                         Well, you should.

               James kisses Susan.  She complies rather than responds.

               Susan disengages herself gently and gathers her things.  
               She stands.

                                     SUSAN
                         Well, must get on.

               INT. NEWSROOM - EARLY MORNING

               A day or two later.  People are drifting out to go down 
               the corridor to the morning news conference.  James is one 
               of the last to leave.  On his way out he meets Charles, 
               the newsreader from Scene two.

                                     JAMES
                         Charles!  I didn't know you were 
                         back.  Have a good holiday?

                                     CHARLES
                         Not too bad, thanks.  How have you 
                         been?

                                     JAMES
                         Working hard on that book I was 
                         telling you about.  Coming to the 
                         meeting?

                                     CHARLES
                         I'm not sure I can face it. 

                                     JAMES
                         Keep me company.

               INT. CORRIDOR - EARLY MORNING

               James steers Charles out of the newsroom and along the 
               corridor.  Only slowly does it become apparent that Charles 
               is in a state of distress.

                                     JAMES
                         How's Mary?

                                     CHARLES
                         She's fine.  Well, actually we've 
                         broken up.  It's all over.

                                     JAMES
                         No.  That's terrible, Charles.  
                         What happened?

                                     CHARLES
                              (on the edge of 
                              tears)
                         Look, I'd rather you didn't ask me 
                         questions.  I can't talk about it.

               They have reached the News Conference Room, but Charles 
               walks on down the corridor to nurse his grief out of sight.

               INT. NEWS CONFERENCE ROOM - MORNING

               The News Conference Room.  Ten minutes later.  The same 
               Editor.  The same matter-of-factness and slight boredom.

                                     EDITOR
                         ....as it happens they got all 
                         their facts wrong anyway.  I checked 
                         up.  We reported the big peace 
                         march on Hyde Park last October, 
                         and a march on NATO headquarters 
                         in the spring, and the death of 
                         whatsisname last month, the old 
                         CND man...

               He looks round.  It is not clear that anyone is listening.

                                     EDITOR
                         What really gets to them, though 
                         they'll never admit it, these types, 
                         is that we give both sides, theirs 
                         and the government's.  
                         Multilateralists and unilateralists.  
                         Hawks and doves.  As far as they're 
                         concerned, there's only one side 
                         to the question.  Nuclear weapons 
                         are bad.  Full stop.  End of 
                         discussion.  Anyone who says there's 
                         more to it than that is... what 
                         was it...
                              (He picks up a 
                              newspaper cutting)
                         'Under cover of an authoritative 
                         news service, propagating a military 
                         definition of reality.'

               He pauses, relaxes into professional indifference.

                                     EDITOR
                         Still.  With the party conferences 
                         coming up in the autumn there's 
                         bound to be some action on that 
                         front and we'd be doing something 
                         anyway.  It won't all be Falklands 
                         business.  James, is there something 
                         in there for us, if we could tie 
                         it in with something else?

                                     JAMES
                         Well, it's all a bit cranky and 
                         small scale.  Vegetarians, hippies, 
                         disturbed housewives.  Local radio 
                         story, I'd say, if that.  They're 
                         mad.

                                     EDITOR
                         Oh well.  Just an idea.  Now.  Can 
                         we talk about this radio-car cock-
                         up yesterday.  Chris?

               INT. NEWSROOM STUDIO - LATE MORNING.

               Two hours later.  The studio.  James and Charles sit at 
               the table, as in Scene Three.  Charles reads.  He is 
               obviously distressed but his voice remains under control.  
               James watches anxiously.

                                     CHARLES
                         It was an emotional occasion.  
                         Hundreds of small craft led by six 
                         fire tugs making fountains of water 
                         formed an escort flotilla, and 
                         four Wasp helicopters flew past in 
                         salute.  In the City the Financial 
                         Times Ordinary Shares Index was 
                         down ten points an hour ago at 
                         529.8. BBC Radio News.

               In the Control Room, the minute hand of the clock reaches 
               five past the hour; the sweep hand reaches the twelve on 
               Charles's last word.  The Controller pushes a button.  
               Charles slumps forward.

                                     JAMES
                         My God that was close!  Well done, 
                         Charles.  I knew you wouldn't let 
                         me down.  But God!  We almost didn't 
                         make it.

               James is standing, gathering papers.  He bustles out, 
               indifferent.  We CLOSE IN on Charles.  Unseen by anyone, 
               he is just beginning to cry.

               INT. JAMES'S FLAT - EVENING

               James is typing rapidly.  There is a growing pile of 
               typewritten sheets to one side.  We go over his shoulder 
               and look closely at the map, Egypt, the desert . . .

               EXT. THE BARRINGTON HOUSE, NORFOLK - LATE MORNING

               A few days later.  James has just arrived and switched his 
               engine off.  But for the wind and birdsong, silence.  There 
               is no reply when he tries the front door.  A note pinned 
               to the door reads: 'Gone for a walk.  Follow footpath.  
               Susan.' 

               EXT.  DYKE - DAY

               James walks along the dyke, across the marshes.  Below 
               him, on the sand, in the distance, are two figures.  James 
               stops to watch them.  Matthew and Susan are deep in 
               conversation — evidently a serious matter.  They seem to 
               be making an agreement.  Matthew puts his head on Susan's 
               shoulder, and they walk on, unaware of James.

               INT. DINING-ROOM - NIGHT

               A burst of laughter.  It is dinner.  Seated are Ann, 
               Matthew, Tom, Susan, James and JACEK, a professor from 
               Central Europe, mid-sixties, an old friend of Ann's.  Betty, 
               the housemaid, serves.

                                     JACEK
                              (heavy accent)
                         The second is less pleasant.  A 
                         Pole is confronted by a German and 
                         a Russian soldier.  Which should 
                         he shoot first?  The German first, 
                         the Russian second.  Duty before 
                         pleasure.

               A more subdued response.

                                     TOM
                         I've heard that one at school.

                                     JACEK
                         Then you are a well-educated young 
                         man.
                              (to Ann)
                         Tom has been reciting his English 
                         kings and queens to me.

                                     JAMES
                         And to me.

                                     JACEK
                         Haven't you socialist historians 
                         in the West made kings and queens 
                         out of date in schools?

                                     ANN
                         We keep trying.

                                     MATTHEW
                         I can tell you that the history of 
                         the monarchy is alive and well in 
                         the national memory.  I shot a 
                         commercial - a series of vignettes 
                         of kings and queens — Henry VIII, 
                         Mary —

                                     TOM
                         Elizabeth I.

                                     MATTHEW
                         Elizabeth I, and so on - and we 
                         had a fantastic response.

                                     SUSAN
                         What were you advertising?  

                                     MATTHEW
                         Oh, some new lager.

                                     JACEK
                         I'm pleased to hear that there is 
                         at least some national memory.  I 
                         agree with Ann that the British 
                         forget too quickly.  Here you have 
                         enviable freedoms, and yet no 
                         monuments to those who struggled 
                         to win them for you.  Now that is 
                         why I think there is hope for the 
                         Poles, whoever occupies their 
                         country.  They remember their dates, 
                         and they keep adding to them.  
                         December 1981, Gdansk 1980, 1976, 
                         1970.  Katyn 1940, 1922 and so on.  
                         It's a subversive list.  Say it 
                         out loud on the streets of Warsaw 
                         and you might get arrested.

               During this last speech of Jacek's we SEE James trying to 
               catch Susan's eye.  She glances up and looks away. 

               INT.  STAIRS -  NIGHT

               An hour later.

               Wine glass in hand James goes upstairs.  He comes to Tom's 
               room.

               INT. TOM'S ROOM - NIGHT

               Susan has been seeing Tom into bed.  James watches from 
               the doorway.  She kisses her brother and turns out the 
               light. 

                                     TOM
                         Don't close the door.  Don't turn 
                         out the hall light.

                                     SUSAN
                         I won't.  Goodnight.

                                     TOM
                         'Night.

               James and Susan linger in the semi-darkness outside Tom's 
               room.  From downstairs comes the sound of boisterous 
               conversation.

                                     JAMES
                         I haven't seen much of you.

                                     SUSAN
                         No.  It's a bit of a madhouse.  
                         For some reason a lot of my mother's 
                         friends specialise in monologues.

                                     JAMES
                         He's all right, the professor.

               Tom comes out of his room.  

                                     TOM
                         Ah, Susy, it...

                                     SUSAN
                         Tom . .. bed!  Go on.

               Tom retreats into his bedroom.  James and Susan move to 
               the head of the stairs.

                                     JAMES
                         Look, will you come on a walk with 
                         me tomorrow?

                                     SUSAN
                         I might.

                                     JAMES
                         Might?

                                     ANN (O.S.)
                              (calling from below)
                         Susan, James, are you up there?

                                     SUSAN
                         Hello, Mummy.

               Ann comes half-way up the stairs. 

                                     ANN
                         Betty's made some coffee.  Do you 
                         want some?

                                     SUSAN
                         Yes, we do.

                                     ANN
                         Well, we're in the library.

               Ann lingers a moment.  She wants James downstairs.  As 
               soon as she has gone, he kisses Susan.

                                     JAMES
                         Might?

                                     SUSAN
                              (Strokes his face)
                         Yes.  Might.  Remember, you're 
                         here to talk to my mother.

               She leads the way downstairs.

               INT.  LIBRARY - NIGHT

               The library.  A fire burns.  Ann pours the coffee and is 
               highly aware of James when he comes in.  Jacek is a little 
               drunk.

                                     JACEK
                         Ah, Susan, James.  Come and judge.  
                         I am interrogating Matthew.  I am 
                         asking him how a director of 
                         advertisements and a socialist get 
                         along so well together.  How does 
                         the lion lie down with the lamb.

                                     ANN
                         By staying in town all week.  And 
                         lying down with several lambs.

                                     MATTHEW
                         Not so.  We meet half way.  Ann 
                         has grown very fond of her material 
                         comforts.  She even owns land with 
                         keep out signs posted on the 
                         boundaries.  And I...

                                     ANN
                              (wearily, to James)
                         I bought a wood because a local 
                         farmer was going to cut it down.  
                         The signs were already there.

                                     JACEK
                         And you...

                                     MATTHEW
                         I earn so much money at what I do 
                         that I can't even begin to defend 
                         it.  I used to shoot a whole line 
                         about the value and necessity of 
                         advertising...

                                     ANN
                         You were more interesting then.

                                     MATTHEW
                         ...but now I'm an agnostic.  So is 
                         Ann, if she'd only admit it.

                                     ANN
                         Come on, James.  Defend me from 
                         this tripe.

               Expectant pause.  Susan smirks.  James is out of his depth.

                                     JAMES
                         Well, there's no reason why a 
                         socialist shouldn't like comfort, 
                         or own a wood, or be very rich.  
                         The problem is making all that 
                         available to everybody ...

               All except Ann groan dismissively.  

                                     MATTHEW
                         Rubbish!

                                     JACEK
                         Ah, if everybody is to have 
                         everything, then you need to plan 
                         very carefully, you need to control 
                         the future.  This is the tragedy 
                         of Marxism.  The future is not 
                         ours to control, nothing turns out 
                         as we plan it.
                              (to Ann)
                         You remember that charming note of 
                         Enzensberger's, Spanish anarchists 
                         in 1898 looked forward to a glorious 
                         future after the revolution — a 
                         world of incredibly tall shining 
                         buildings, with elevators that 
                         would save climbing stairs, electric 
                         light for all, garbage disposal 
                         chutes and wonderful household 
                         gadgets.  This vision is now a 
                         reality in our cities, the victory 
                         has been won and it looks just 
                         like defeat. ..

               Susan yawns conspicuously.  Everybody turns.

                                     SUSAN
                              (unrepentant)
                         Sorry.  Tired.

               INT.  KITCHEN - MORNING

               The following morning.  If possible, a beautiful day.  
               Betty is washing up a large pile of breakfast things.  
               From outside, the sound of much hilarity.

               EXT.  GARDEN - MORNING

               On the back lawn Tom, Susan and Matthew are playing 
               football.  To one side, Jacek leans on his stick and 
               watches. 

               INT.  LIBRARY - MORNING

               The library.  Ann and James sit facing each other by the 
               fireplace.  The game of football can be heard.  From where 
               James sits he can see past and into the gardens, the 
               occasional glimpse of Susan, the enticing sunlight. 

                                     ANN
                         The references are to Hansard or 
                         to newspapers.  I haven't got the 
                         actual speeches now.  You'll have 
                         to chase them up.

                                     JAMES
                         I will, thanks.

                                     ANN
                         These are transcripts of various 
                         radio broadcasts, including 
                         Gaitskill's, the one they tried to 
                         stop.  You ought to have that ...

               Betty knocks and enters.

                                     BETTY
                         Excuse me.  Phone call for Mr 
                         Penfield.

                                     ANN
                         Take it here.

                                     JAMES
                         Thanks.  Hello... how did you get 
                         this number?  I see.  Look, I'm 
                         really sorry about last week, I... 
                         no, I'm up here researching 
                         something I... is she?.. . well, 
                         don't they have painkillers for 
                         that?... Oh, yeah... Look, tell 
                         her 111 be there... I can't just 
                         drop everything.  It'll probably 
                         be the day after tomorrow... 
                         Right... Ok... yes, goodbye.
                              (to Ann)
                         It's a relative of mine.  She's 
                         not very well. 
                              (He sits down again)
                         I'm sorry.  What were you saying?

               EXT. GARDEN - DAY

               A couple of hours later.  Susan sits on a bench re-tying 
               the lace of her walking boot.  James stands, waiting.

                                     SUSAN
                         Jeremy phoned this morning

                                     JAMES
                         What did he want?

                                     SUSAN
                         He's making plans for Brighton.  
                         He thought we could travel down 
                         together.

                                     JAMES
                         That'll be fun

                                     SUSAN
                         In your car

                                     JAMES
                         Why not.

               Ann appears from the house.  Tom follows.

                                     ANN
                         Hello.  Anyone for a walk?  Tom 
                         isn't, I can tell you.

                                     JAMES
                         Well, we were just...

                                     SUSAN
                         Don't you want to walk, Tom?  

                                     TOM
                         No.

                                     SUSAN
                         Actually, I've been once today 
                         already.  I'll stay here with him.

                                     ANN
                         James and I have been indoors all 
                         morning.

                                     SUSAN
                         Well, he's very keen to go.

               She walks with Tom towards the house.

                                     JAMES
                         Susan...

               Holding Tom's hand, she turns and smiles. 

                                     SUSAN
                         See you when you get back.

               James has been quickly outmanoeuvred by Susan.  He stands 
               awkwardly for a moment, collecting himself.

                                     ANN
                         Shall we go?  

                                     JAMES
                         Yes.

               EXT.  DYKE - DAY

               The dyke across the marshes, the sand dunes, the sea.  
               During Ann's monologue (broken up where appropriate) we 
               SEE the two sometimes IN CLOSE, sometimes as MINUTE FIGURES 
               in this immense landscape.

               James follows Ann along the dyke.  They stop and she points 
               out a wooded hill, well inland.  Later... 

                                     ANN
                         Then I began to listen to what the 
                         well-off were saying about the 
                         poor now — the war had just ended, 
                         and the language was much the same 
                         as it had been before the first 
                         Reform Act.  A small minority 
                         thought that England was really 
                         theirs, they had made it, they 
                         owned it.  The rest, the wage 
                         earners, were foreigners, outsiders 
                         intent on wrecking it all.

                                     JAMES
                         Didn't Evelyn Waugh say that the 
                         country under Atlee seemed to be 
                         under enemy occupation?

                                     ANN
                         Did he?  I left school and worked 
                         for the Labour Party.  My older 
                         brother, George, had just been 
                         killed in Greece, and he'd been an 
                         active member.  I hero-worshipped 
                         him.  He was 25 years old ...
                              (she trails off)
                         It was an exciting time for us, 
                         those first couple of years after 
                         the war.  We thought the country 
                         was about to become a true 
                         democracy.  I can understand why 
                         people of your generation want to 
                         write about that time.  They feel 
                         betrayed.  They want to know what 
                         went wrong.

                                     JAMES
                         What went wrong?

                                     ANN
                         Oh, many things.  Inertia ... Stalin 
                         and the Cold War... a failure of 
                         nerve.  We took the seediest, most 
                         inefficient fifth of the economy 
                         into State care, paid out millions 
                         for it, put the same old duffers 
                         in charge.  A new broom with very 
                         old bristles.  When the Tories 
                         were returned, I went and sat in 
                         the BM and wrote my little book on 
                         Chartism.

               Later.  Walking home

                                     ANN.
                         I don't like admitting it, but the 
                         truth is, I am happy.  Matthew's 
                         right.  I like comfort.  I like 
                         doing my own work and not having 
                         to teach.  I love my house and the 
                         garden, and my wood.
                              (she stops)
                         And I'm very happy walking here 
                         with you.  (She takes his hand.) 
                         You have such a quiet, strong sense 
                         of purpose.  Energy.  I think I'll 
                         rely on you to take the 
                         uncomfortable stands in life.  
                         I've done my bit.

               They smile at each other. 

               Ann moves in to kiss James passionately.  He complies. 

               A jet fighter flies in low over the marshes.

               INT. DRAWING-ROOM - EVENING

               Susan and Tom, who wears pyjamas and dressing-gown, are 
               playing Chess.  James watches Susan.  Tom is noisily, 
               bossily instructing her in the rules.  Matthew is 
               approaching James, about to speak.

                                     MATTHEW
                         I just might give you a ring when 
                         we get back to London.  There's 
                         one or two things I'd like to... 
                         Will you let me have your number 
                         before you leave?  Have you ever 
                         watched a commercial being made?

                                     JAMES
                         No.

                                     MATTHEW
                         Well, it's worth seeing.

               Ann appears in the doorway.

                                     ANN
                         James...

               There is a moment of awkwardness.  James squeezes past 
               Matthew and goes towards Ann. 

                                     JAMES
                         Excuse me.

               INT.  LIBRARY - EVENING

               The library.  A moment later.  James has just come in.  
               Ann hands him a silver framed photograph. 

                                     ANN
                         I wanted to show you.  It was taken 
                         six months before he died.

               The resemblance between James and the dead brother should 
               be clear.  James studies the photograph.  He looks up.  
               Ann is gazing at him steadily. 

               INT. DINING-ROOM -  NIGHT

               Half an hour later.  Ann, Matthew, Susan and James.  A 
               certain strain.  The sound of knives and forks only.  In 
               the hall the PHONE RINGS.  They hear Betty pick it up.  
               Still holding the receiver she pushes open the dining-room 
               door. 

                                     BETTY
                              (to Matthew)
                         It's for you, Mr Fox.

               The others go on eating, acutely aware of Matthew's 
               conversation.

                                     MATTHEW
                              (from the hall)
                         Hello... Oh, hi... well, you know...

               He pushes the door shut with his foot.  James looks at 
               Susan.  Susan glances at her mother.  Ann knows it is one 
               of Matthew's girlfriends.  She goes on eating, a brave but 
               failing attempt to appear untouched.

               INT. JAMES'S BEDROOM  - NIGHT

               Very late, the same night.  From the point of view of an 
               intruder we move into the room.  James is asleep.

                                     ANNE'S VOICE
                              (whispers)
                         James... James.

               He snaps awake.  We SEE what he sees.  Ann sits on the 
               edge of his bed, in tears.  She touches his face.  She 
               leans over and embraces him.

               INT. JAMES'S BEDROOM - NIGHT

               A little later.  The bedside lamp is on.  James lies still, 
               his expression numb.  The bedclothes are in disarray.  His 
               bedroom door is just closing.

               INT.  NEWSROOM - LATE MORNING

               The Newsroom at its busiest, as in Scene One.  Linger on 
               the activity before finding James.  He sits writing a report 
               in longhand, referring to News Agency material.  Much 
               dictating going on around him, so that Philip who sits 
               across from him has almost to shout to be heard.  He has 
               picked up a phone and is covering the mouthpiece.

                                     PHILIP
                         It's that lady from Norfolk again.

                                     JAMES
                         I'm not here.

                                     PHILIP
                         I'm terribly sorry.  He doesn't 
                         seem to be here ... No ... Yes, if 
                         I see him, I will. .. Goodbye.  
                         She's going to phone back.

                                     JAMES
                         Next time tell her I've gone away.

                                     CHARLES
                         Aha.  James giving some woman the 
                         old heave-ho.

                                     JAMES
                              (rim smile)
                         Exactly that.

               INT. JAMES'S FLAT - EVENING

               TIGHT SHOT of Edward on the phone.

                                     EDWARD
                         Hello, you don't know me.  My name's 
                         Edward Long.  I'm a friend of James 
                         Penfield.  He asked me to phone 
                         you.  I don't know what any of 
                         this means, but he said you would 
                         understand ... Yes, that's right.  
                         He said he's got to go away for a 
                         while, and that he'll be writing 
                         to you and please don't try and 
                         contact him ... Hello?

               Pulling away, we see where we are.  James sits in a chair 
               reading a magazine.  God, that was terrible.  Don't ever 
               ask me another favour like that.

                                     JAMES
                         You were wonderful.  I'm very 
                         grateful.

                                     EDWARD
                         She hung up.  Why couldn't you 
                         just write to her?

                                     JAMES
                         I will, sooner or later.
                              (standing)
                         Trouble is I hate writing letters.  
                         Now, where are we going to eat?

               INT. FILM STUDIO - MORNING

               What we SEE first is the actual set and only subsequently 
               the surrounding technical apparatus of film-making.  We 
               are suddenly in a deeply contented pre-war middle-class 
               sitting-room.  Guide track: sweet, period music.  Dad sits 
               in an armchair reading a newspaper.  A pipe is near at 
               hand.  To one side, a wireless.  At his feet, a girl plays 
               with a doll; a boy plays with a model steam engine.

               Mum enters with a tray of steaming hot drinks.  As she 
               sets down the tray on the arm of Dad's chair, the music 
               peaks and the children half rise and arrange themselves on 
               either side of Dad's legs.  Everyone smiles up at Mum.  
               Once this has unfolded, we pull back to see the camera 
               crew, continuity, make-up etc. James is standing to one 
               side watching.

                                     MATTHEW
                         And ... cut.  Steve?

                                     STEVE
                              ((camera-man)
                         Not the best, guv'nor.

                                     MATTHEW
                         Right... we'll go again, please.

               Matthew to ad lib instructions to actors and crew.  He 
               notices James.

                                     MATTHEW
                         James, good, you made it.  We're 
                         just going to do one more take, 
                         then we'll break for lunch.

               The commercial is set up and shot again, with Matthew 
               continuing to give ad libbed directions.  As soon as the 
               take is over, Matthew snatches his jacket, gives a quick 
               kiss to a young woman who could well be his current lover, 
               and steers James out of the studio.

                                     MATTHEW
                         Right, James.  Come on.  Let's go 
                         before the clients get hold of me.

               INT.  PUB - DAY

               Lunch time.  Matthew stands at the bar where he is buying 
               drinks and lunch.  Then the two men sit at a small table 
               face to face.

                                     MATTHEW
                         I'll tell you another thing.  We 
                         might have led the world once into 
                         the Industrial Revolution, now we 
                         lead with television commercials.  
                         We're the best, it's as simple as 
                         that.  Even the Americans will 
                         admit it now ... the camera work, 
                         the acting, the scripts, special 
                         effects.  We've got the lot.  Nearly 
                         all the good directors here have 
                         ambitions to make serious films.
                              (a sudden laugh)
                         That food you're eating.

                                     JAMES
                         Yes.

                                     MATTHEW
                         What would you call it?

                                     JAMES
                         I dunno.  Ploughman's Lunch.

                                     MATTHEW
                         Ploughman's Lunch.  Traditional 
                         English fare.

                                     JAMES
                         U-huh.

                                     MATTHEW
                         In fact it's the invention of an 
                         advertising campaign they ran in 
                         the early sixties to encourage 
                         people to eat in pubs.  A completely 
                         successful fabrication of the past, 
                         the Ploughman's Lunch was.

               We look at James's plate, the unappetising food.  Matthew 
               takes a long drink.

                                     MATTHEW
                         Listen, James.  There's something 
                         else I want to talk to you about.

               Matthew pauses.

                                     MATTHEW
                         I'm pretty broadminded, and I'd 
                         rather be frank than have everybody 
                         misunderstanding one another.  If 
                         you see what I mean.

               James does not.

                                     MATTHEW
                         Susan told me that your visits to 
                         Norfolk had ... well, an ulterior 
                         motive.

                                     JAMES
                         She said that?

                                     MATTHEW
                         You weren't really interested in 
                         Suez at all.  Incredibly enough, 
                         you were interested in my wife.

                                     JAMES
                         Now listen...

                                     MATTHEW
                         No, no, let me go on before you 
                         get the wrong idea.  Ann and I 
                         have kept to our separate bedrooms 
                         for the last three years.  And I 
                         can't imagine that Susan hasn't 
                         hinted at the kind of life I lead 
                         in London.  I'm not telling you 
                         how to run your affairs.  I'm just 
                         saying ... I don't mind.  I'm giving 
                         you permission.  
                         

               We are CLOSE IN on James's reaction.

               INT. JAMES'S CAR - EARLY MORNING

               James drives towards Susan's flat.  Jeremy sprawls in the 
               back seat, slowly peeling the foil from a champagne bottle.  
               Both are well-dressed.  As they draw up outside Susan's 
               flat, Jeremy leans forward and murmurs in James's ear. 

                                     JEREMY
                         Still in love?

                                     JAMES
                         I'm not sure. 

               He presses the horn and gets out.  Jeremy gets out too.  
               Susan comes down the steps.  She is also smartly dressed.  
               She kisses James.  He takes her small suitcase and puts it 
               in the boot.  She kisses Jeremy.

                                     JEREMY
                         Darling Susan.  You look like an 
                         angel.  But where's your hat?

                                     SUSAN
                         Oh no!

                                     JEREMY
                         They won't let you in without one.

               James hands Susan into the front seat. 

                                     JEREMY
                         Brighton, James!

               EXT. LONDON STREET - DAY

               The car slips through the London traffic.

               INT. JAMES'S CAR - DAY

               In the car, a few minutes later.  Much hilarity.  Susan is 
               holding a glass ready as Jeremy eases out the cork.

                                     SUSAN
                         Don't point it at James!  

                                     JEREMY
                         Voila!

               The cork flies.  The champagne is poured.  Susan hands a 
               glass to James.

                                     JEREMY
                         To the ninety-ninth conference of 
                         the National Union of Conservative 
                         and Unionist Associations!

               All repeat the toast with various stumbling inaccuracies.

               INT. CAR PARK, BRIGHTON - DAY

               James drives into a multi-storey car park.  Jeremy gets 
               out of the car and goes to look at the view which is of 
               modern office developments.

                                     JEREMY
                         Hah - the seaside!  Isn't it 
                         heavenly!

               Susan joins Jeremy.

                                     SUSAN
                         Gorgeous.

               Jeremy is taking out his Press Pass and pinning it to his 
               lapel.

                                     SUSAN
                         What have you got there?

                                     JEREMY
                         You'd look naked without one.

                                     SUSAN
                         Oh, yes!  Where's mine?  I want to 
                         look like you.

               James joins them.  There follows a little charade of mock 
               sympathy.

                                     SUSAN
                         What about James?

               Jeremy and Susan chorus a sympathetic moan.

                                     JEREMY
                         We'll see what we can do.

                                     SUSAN
                         Promise?  

                                     JEREMY
                         Promise.

               EXT. BRIGHTON PROMENADE -  DAY

               James, Jeremy and Susan walk along the promenade and cross 
               the road towards the Grand Hotel.  The Conference Centre 
               is visible and so too are the POLICE and DEMONSTRATORS.  
               Jeremy has linked arms with Susan.  James lags behind a 
               little.  Jeremy tells a joke, barely audible above the 
               SOUND of TRAFFIC and the CHANTS of the PROTESTORS.  Susan 
               giggles as she and Jeremy skip forward to dodge the traffic.

               INT. LOBBY, GRAND HOTEL -  DAY

               The lobby is crowded with DELEGATES, MPs, PRESS and TV 
               PEOPLE.

                                     JEREMY
                         There goes my deep throat.  Excuse 
                         me.

               Jeremy darts away.  Susan is looking about her.

                                     JAMES
                         Shall we have a drink or something?

                                     SUSAN
                         Oh ... excuse me.  There's Nicholas.

               James is left.

               EXT. HOTEL BALCONY - AFTERNOON

               DELEGATES and MPs, and MEDIA PEOPLE, are taking tea on the 
               long balcony of the Grand Hotel.  Jeremy is interviewing 
               an MP.  James and Susan sit at the same table listening.

                                     JEREMY
                         Then, the theory goes, you'll be 
                         back in favour.  In line for a 
                         real job.  Is that right?

                                     MP
                         Well, it's a theory ... interesting.  
                         Oh, excuse me, there's Willy.

               The MP makes off.

                                     JEREMY
                         I want to see him too.

               Jeremy leaves.  James comes and sits closer to Susan.

                                     JAMES
                         We don't seem to get much time to 
                         talk.

                                     SUSAN
                         I know.  I'm sorry.

               An announcement comes through on the hotel's P.A.

                                     ANNOUNCER'S VOICE (O.S.)
                         Miss Susan Barrington, Miss Susan 
                         Barrington.  A phone call for you.

               Susan makes a half-hearted apologetic gesture and leaves.  
               As she goes she passes Jeremy who holds a Press Pass for 
               James.  He kneels by James's chair and pins the card to 
               his lapel.

                                     JEREMY
                         General Sir James Penfield ... 
                         services during the Norfolk 
                         campaign.

               EXT. CONFERENCE CENTRE - LATE AFTERNOON

               The three walk towards the Conference Centre, along the 
               gauntlet of PROTESTORS and ONLOOKERS.  Among them are Carmen 
               and Betty, holding a placard which says 'Women's Peace 
               Camp'.  They catch sight of James.  Some puzzled 
               recognition.  James hurries away from the women and through 
               the doors into the Centre.

               INT. PRESS BALCONY, CONFERENCE CENTRE - DAY

               James, Susan and Jeremy come onto the Press balcony and 
               find their seats while FRANCIS PYM delivers a speech.

                                     PYM
                         It was they who rebuffed aggression, 
                         they who struck such a powerful 
                         blow for democracy .. .

                                     JAMES
                              (to Susan)
                         I managed to book us a table at 
                         Wheelers.

                                     PYM
                         I believe this will prove of wider 
                         significance even than the event 
                         itself.  We were seen to be fighting 
                         to defend principles which are 
                         fundamental to free nations 
                         everywhere, and our reputation has 
                         been enhanced as a result.

                                     JEREMY
                              (to Susan)
                         Francis is in cracking form, don't 
                         you think?

               INT.  BAR - EARLY EVENING

               James, Jeremy and Susan.  Journalists, delegates etc.

                                     SUSAN
                              (triumphant, excited)
                         It was incredible.  He came back, 
                         made a pompous little bow and said, 
                         'My dear girl you may film me all 
                         afternoon if you wish.' And he's 
                         promised not to talk to the Press.

                                     JEREMY
                         It's because he desires you.  The 
                         women get all the breaks at these 
                         conferences.

                                     SUSAN
                         It's true!  I was here last year 
                         doing a piece, remember?  I was in 
                         the bar with all these Northern 
                         trade unionists and their sponsored 
                         MPs.  They were all incredibly fat 
                         and beery, huge trousers and braces.  
                         And so sweet.  They all stood round 
                         me like children saying 'You!  
                         Working for television?  You're 
                         just a young thing.'  They wouldn't 
                         let me buy drinks even when I told 
                         them the programme was paying.  
                         They kept looking at my pass which 
                         was pinned here and saying
                              (Mock Yorkshire.)
                         'Oo, can I?'  

                                     JEREMY
                         Then one of them was sick all over 
                         your new dress.

                                     SUSAN
                         No, he wasn't.  He just lowered 
                         himself into a bar stool and said...
                              (Yorkshire)
                         'Oo I do feel bad.  I 'ad three 
                         pints of lager and six onion 
                         bajees!'  

               They all laugh.

                                     SUSAN
                         I've got to go.  See you at dinner.

               She kisses them both.  They watch her go.  Their different 
               expressions.

                                     JEREMY
                         Six onion bajees!  Great girl.
                              (then, confidential)
                         Did you shake the mother off?

                                     JAMES
                         Yes, finally.

                                     JEREMY
                         Big mistake, I think.  You might 
                         have learned a lot.

                                     JAMES
                              (sudden)
                         Are you up to something?

               Jeremy shrugs innocently and shows his empty hands.

               INT. CONFERENCE CENTRE - DAY

               James wanders through the Centre in search of Susan.  He 
               enters the debating chamber.  MICHAEL HESELTINE is 
               addressing the Conference.  James wanders out to the space 
               below the platform where journalists and photographers are 
               gathered.  He goes up the aisles between the seated 
               delegates.  No sign of Susan.  He leaves the chamber.

                                     HESELTINE
                         ....left-wing councils employ labour 
                         candidates in the paid voluntary 
                         sector.  We now face a professional 
                         left financed at the ratepayer's 
                         and tax payer's expense!  Just 
                         more money is not a solution in 
                         itself.  As we have given more 
                         money to the professional left...

               INT. LOBBY, CONFERENCE CENTRE.  DAY

               Much later.  James crosses the crowded lobby, still in 
               search of Susan.

               INT. STAIRS, CONFERENCE CENTRE - DAY

               James climbs the stairs to the Press balcony.  He hears 
               Mrs Thatcher's voice, and from the street below, the 
               chanting of protestors.

                                     THATCHER (O.S.)
                         This is not going to be a speech 
                         about the Falklands campaign, 
                         although I would be proud to make 
                         one.  But I want to say just this 
                         because it is true for all our 
                         people.

               INT. PRESS BALCONY - DAY

               James passes through the doors and finds a seat.

                                     THATCHER
                         The spirit of the South Atlantic 
                         was the spirit of Britain at her 
                         best.  It has been said that we 
                         surprised the world, that British 
                         patriotism was rediscovered in 
                         those spring days.  Mr President, 
                         it was never really lost!

               James suddenly notices Susan down on the lower floor.  She 
               passes through the doors and is gone.  James gets to his 
               feet.

                                     THATCHER
                         But it would be no bad thing if 
                         the feeling that swept over the 
                         country then were to continue to 
                         inspire us.  But if there was any 
                         doubt about the determination of 
                         the British people...

               Jeremy and Susan come through the doors onto the Press 
               balcony.  James stops.  They have not seen him.  He watches 
               as they stand together.  Clearly a new intimacy has been 
               established.

                                     THATCHER
                         ... it was removed by men and women 
                         who a few months ago brought a 
                         renewed sense of pride and self-
                         respect to our country.

               Jeremy kisses the nape of Susan's neck.  They are not 
               interested in staying for the speech.  James watches stonily 
               as they leave.

                                     THATCHER
                         They were for the most part young.  
                         Let all of us here, and in the 
                         wider audience outside, pause and 
                         reflect...

               Numbed, James returns to his seat.

                                     THATCHER
                         ...on what we who stayed at home 
                         owe to those who sailed and fought 
                         and lived and died and won.  If 
                         this is tomorrow's generation, 
                         then Britain has little to fear in 
                         the years to come!

               Mix to the last sentence of the Prime Minister's speech.

                                     THATCHER
                         We will tell the people the truth, 
                         and the people will be our judge!

               James sits through the standing ovation.  The delegates 
               cheer, Land of Hope and Glory' is sung.  James chews his 
               nails.

               INT. CONFERENCE CENTRE -  DAY

               Hours later.  WORKMEN are dismantling the platforms, taking 
               away props, taking down the Conference backdrop and slogans.  
               In LONG-SHOT we SEE Jeremy making his way between the rows 
               of chairs.  James pursues him enraged, shouting.  The ad 
               libbed obscenity can barely be heard.

               EXT. BRIGHTON SEA FRONT - DUSK

               James and Jeremy.

               James's rage is spent.  It has collapsed into bitterness.  
               The two men stop under a street lamp.

                                     JEREMY
                         Susan and I are very old friends, 
                         James.

                                     JAMES
                         Fuck off.

                                     JEREMY
                         And you were obviously getting 
                         nowhere with her.  I was waiting 
                         for the right moment to tell you 
                         that.

                                     JAMES
                         My God.  You even cooked up that 
                         Norfolk trip.

                                     JEREMY
                         It might have worked.  Really.  I 
                         would have been delighted for you 
                         if it had.  But she wasn't 
                         interested.  Not my fault.

                                     JAMES
                         You're a piece of shit

                                     JEREMY
                         I've known Susan for more than 
                         fifteen years.  James, we're old 
                         allies.

               At this last word, James looks up.  Jeremy walks away.

               INT. JAMES'S FLAT - DAY

               A few weeks later.  We don't see James.  We SEE and HEAR 
               words pounding onto the PAGE.  A fury in the typing.  The 
               page is pulled clear.  SILENCE.  We STAY ON the TYPEWRITER.

               INT. BBC NEWSROOM - DAY

               James is leaving in a hurry.  He pulls on a thick overcoat, 
               gathers up some papers, ignores someone who calls after 
               him as he leaves.

               EXT. LANGHAM PLACE -  DAY

               James leaves Broadcasting House and walks towards Oxford 
               Circus.

               INT. GOLD'S OFFICE - DAY

               Gold stands by his desk as James comes in, pouring two 
               glasses of wine.

                                     GOLD
                         James... I can't begin to tell you 
                         how pleased we all are. 
                              (he hands James a 
                              glass)
                         Congratulations, and I really mean 
                         it.

                                     JAMES
                         Thank you.

                                     GOLD
                         It's everything we wanted.  A very 
                         good read.  A terrific piece of 
                         work.  So, here's to you and Suez.

                                     JAMES
                         And to history.

               CLOSE IN, the glasses touch.

               EXT.  CEMETARY - DAY

               A group of mourners round a grave.  A grey day.  A priest 
               reads from the Book of Common Prayer, but his voice is 
               virtually lost to us.  We find James's father, hunched in 
               his overcoat, face immobile with grief.  Next to him, James, 
               expressionless.

               James glances at his watch.

               FREEZE FRAME. OPTICAL ZOOM.

               THE END