HEAVENLY CREATURES
Screenplay by
FRANCES WALSH AND PETER JACKSON
PROLOGUE:
Newsreel footage of Christchurch circa 1954.
EXT.
VICTORIA PARK/BUSHY TRACK LATE AFTERNOON CAMERA CRASHES out of bush and races up a
dark bushy track.
CLOSE ON . . . two pairs of feet running up the track,
slipping in the mud . . . desperate.
WIDE SHOT . . . reveals TWO GIRLS running up the track,
distraught.
JULIET HULME: nearly 16 tall, blond
and willowy, and PAULINE RIEPER: 16
dark-haired, shorter and stockier than Juliet.
It is 1954. Both girls are dressed in overcoats on a chilly
winter day. They slip and stumble on the dirt track that winds up the steep Victoria Park
hillside. Thick vegetation and overhanging trees give the path a tunnel-like feeling.
CUT
TO:
EXT. OCEANLINERS DECK DAY
BLACK & WHITE . . .
Pauline and Juliet running . . . this time they are happy,
in holiday clothing, weaving around OTHER PASSENGERS as they race along the deck of an
oceanliner.
INTERCUT
BETWEEN:
EXT.
VICTORIA PARK/BUSHY TRACK LATE AFTERNOON Pauline and Juliet desperately scrambling
up the track.
AND
EXT. OCEANLINER S DECK DAY
BLACK
& WHITE . . .
Pauline and Juliet happily bounding along the ships deck.
They push past a group of PASSENGERS. Juliet waves and calls
out.
JULIET:
Mummy!
The
PACE of the INTERCUTTING between TRACK and SHIP, COLOUR and BLACK & WHITE, increases
in rhythm.
Pauline and Juliet run up toward a MAN and WOMAN (HENRY and
HILDA) on the deck.
JULIET:
Mummy!
PAULINE:
Mummy!
CAMERA
RUSHES toward Hilda and Henry (not seen clearly) as they turn to greet the two girls:
CRASH
CUT:
EXT.
VICTORIA PARK/TEAROOMS DAY
AGNES RITCHIE, proprietor of the tearooms at the top of
Victoria Park, comes rushing down the steps toward CAMERA . . . her face alarmed.
PAULINE:
(O.S.) (Panicked) Its Mummy!
Pauline
and Juliet rush into CLOSE-UP . . . panting heavily. For the first time we realise their
clothes, and Paulines face, are splattered with blood.
PAULINE
(Panicked) Shes terribly hurt . . .
JULIET
(Hysterical) Somebodys got to help us!
CUT
TO:
SUPERTITLES ON BLACK:
"During 1953 and 1954 Pauline Yvonne Parker kept
diaries recording her friendship with Juliet Marion Hulme. This is their story. All diary
entries are in Paulines own words."
INT.
CHRISTCHURCH GIRLS HIGH FOYER MORNING MUSIC: "Just a Closer Walk
With Thee," sung by a HUNDRED SCHOOLGIRLS.
The school crest "Sapienta et Veritas" embossed in
the lino just inside the entrance.
Lisle-stockinged schoolgirl legs carefully walk around the
crest . . . TRACK along with the schoolgirl legs.
CUT
TO:
EXT. SCHOOL BUILDING/CRANMER SQUARE MORNING HYMN
CONTINUES OVER:
TRACKING . . . with a row of schoolgirl legs, marching in a
crocodile line across Cranmer Square.
CRANE UP . . . to reveal CHRISTCHURCH GIRLS HIGH.
SUPER: "Christchurch Girls High, 1952"
CREDITS BEGIN . . . GROUPS OF GIRLS, in heavy, pleated,
over-the-knee school uniforms, wearing hats, gloves and blazers, flock through the school
grounds.
MISS STEWART, the headmistress, stands by the rear entrance,
scanning girls uniforms as they enter.
EXT.
RIEPERS HOUSE/BACK GARDEN MORNING
CLOSE ON . . . Pauline Riepers legs as she tries to
hitch up her baggy stockings. She hops over a fence and hurries toward the school, which
backs onto the Riepers garden.
She carries a boys-style school bag on her shoulder
and walks with a slight limp.
EXT.
CHRISTCHURCH STREETS MORNING
TRACKING . . . LOW ANGLE with the Hulme car coming toward
CAMERA.
INT.
SCHOOL CORRIDOR MORNING
TRACKING . . . with Pauline's striding feet down a crowded
school corridor. CRANE UP . . . as she walks toward CAMERA. In contrast to the other
girls, she is introspective and gruffly acknowledges her classmates.
CUT
TO
INT. SCHOOL ASSEMBLY HALL MORNING
The ornate wooden ceiling of the assembly hall. TILT DOWN .
. . to a sea of schoolgirls singing the last verse of the hymn. Miss Stewart and the STAFF
are standing on the stage, singing.
LONG LENS into the crowd . . . Pauline is not participating
in the hymn. Her eyes look about uninterestedly.
ZOOM IN . . . on Miss Stewart glaring straight at CAMERA.
Pauline mouths the last couple of words.
The hymn finishes.
MISS
STEWART Sit!
Everybody
sits.
EXT.
CHRISTCHURCH GIRLS' HIGH/CRANMER SQUARE MORNING
The Hulmes' car pulls up outside the school.
CREDITS END
WIDE SHOT . . . Juliet Hulme gets out of the car, followed
by her father, HENRY. They walk into the school.
CUT
TO INT.
SCHOOL FRENCH CLASS MORNING
Class 3A are in the midst of a French lesson. All the class
have name cards hanging around their necks denoting their chosen "French name."
MISS WALLER gestures at a screed of subjugated verbs scrawled on the blackboard.
MISS
WALLER: The imperfect
subjunctive, like the imperfect indicative, indicates action in the past. "II voulait
qu'elle lui donnat de l'argent." Translate, somebody . . . quickly!
A
SCHOOLGIRL
LAURA
blurts out from the front of the class.
LAURA
"He wanted her to give him some money."
MISS
WALLER (Angry) Put your
hand up! I will not have girls talking out of turn in my class!
The
door opens and Miss Stewart brings Juliet into the room.
The presence of the headmistress causes the class to stand
up.
MISS
STEWART Good morning,
gels.
CLASS
(In Unison) Good
morning, Miss Stewart.
The
class sit.
MISS
STEWART Miss Waller . . .
class . . . this is Juliet Hulme. Juliet is joining us from St. Margaret's, and prior to
that she spent some time at Queenswood in the Hawkes Bay.
Juliet
looks at Miss Stewart haughtily.
JULIET: I
am actually from England, Miss Stewart.
MISS
STEWART :Of course . . .
Juliet's father is Dr. Hulme, the Rector of the University.
Miss
Waller looks impressed. Pauline is quietly drawing horses at the back of the class.
MISS
STEWART :Juliet's
travelled all over the world, and I'm sure shell be very eager to share her
impressions of exotic lands across the seas with the gels of 3A. I'll leave you to
it, Miss Waller. Juliet.
Miss
Stewart leaves. Miss Waller smiles at Juliet.
MISS
WALLER: You can sit over
here, Juliet.
Miss
Waller gestures to a desk at the front. She gives Juliet a cardboard name card.
MISS
WALLER We use French
names in this class. You can choose your own.
Miss
Waller returns to the blackboard and starts writing.
MISS
WALLER Now, irregular
verbs in the present subjunctive. . . "qu'il vienne". . .
JULIET
Excuse me, Miss Waller . . . you've made a mistake.
Miss
Waller turns to Julietwho now has the name "Antoinette" hanging around her
neck.
JULIET
"Je doutais qu'il vienne" is in fact the spoken subjunctive.
MISS
WALLER It is customary
to stand when addressing a teacher . . . "Antoinette."
Juliet
stands.
JULIET You
should have written "vint."
Miss
Waller frowns, glances at the board, and hastily rubs out the offending word.
MISS
WALLER (Embarrassed
mumble) Oh! I must have copied it incorrectly from my notes.
Juliet
stands again.
JULIET You
don't have to apologise, Miss Waller. I found it frightfully difficult myself . . . until
I got the hang of it.
Miss
Waller turns to Juliet, her face clouded with anger. The class looks terrified.
MISS
WALLER (Icily) Thank you, Juliet. Open your text-book to page
17.
Pauline
is smirking.
CUT
TO:
INT. SCHOOL ART CLASS DAY
The teacher, MRS. COLLINS, comes in, carrying a pile of
paper and a box of paints. She starts to distribute them around the tables.
MRS.
COLLINS: Right, I thought
we'd do some life drawing today. Pair off into twos and decide who wants to model and who
wants to draw.
The
girls around Juliet turn to each other, seemingly eager not to be partnered with her. They
pair off and Juliet is left alone.
MRS.
COLLINS: Oh, Juliet. . .
you haven't got a partner.
JULIET That
s all right, Mrs. Collins. I'm sure I can manage without one.
Mrs.
Collins scans the class.
MRS.
COLLINS: Pauline . . .
are you with anybody?
Pauline
shakes her head.
MRS.
COLLINS; Good! You can
come here and pair up with Juliet.
Pauline
reluctantly comes up to Juliets table.
SERIES
of SHOTS showing VARIOUS GIRLS sketching their partners. Most of the posing girls are
seated in contrived positions with rigid grins on their faces. Mrs. Collins patrols
the class, commenting to different girls.
MRS.
COLLINS: You might want
to change the colour make it a bit darker . . . that's very nice, Joan.
PULL
BACK. . . to reveal Pauline's "pose" . . . slumped in the chair, arms crossed, a
sullen look on her face. She stares intently at Juliet, who is drawing furiously . .
. but doesn't refer to Pauline at all.
MRS.
COLLINS: Good heavens,
Juliet! What on earth is this???
Mrs.
Collins picks up Juliet's drawing. It features an armoured knight on horseback, fighting a
dragon.
JULIET St.
George and the Dragon.
Mrs.
Collins studies the detail in the drawing.
MRS.
COLLINS Where's Pauline?
JULIET Oh,
I haven't gotten around to drawing her yet. I was going to pop her on a rock, but I seem
to have run out room.
Juliet
glances at Pauline.
JULIET
Sorry! I don't know if you've noticed, Mrs. Collin but I've actually drawn St. George in
the likeness of world's greatest tenorMario Lanza!
MRS.
COLLINS Yes, I know it's
very clever, Juliet, but when I set you a topic, I expect you to follow it. Now put that
down and start again!
Mrs.
Collins moves on. Juliet looks up at Pauline rather grumpily. Pauline leans forward, an
intense look on her face . . .
PAULINE
(Whispers) I think your drawing's fantastic!
CUT
TO:
INT. RIEPERS' HOUSE/KITCHEN EVENING
CLOSE-UP . . . a newspaper is unwrapped, revealing couple of
fresh fish.
HONORA RIEPER is standing at her sink bench. She is 43 years
old. Dark hair, going gray. A middle-aged woman with a kind face.
Her husband, HERBERT, has just arrived home and is taking
off his coat, looking at the mail, etc. He is nearly 60 . . . 15 years older than Honora.
The Riepers' house is clean and tidy. They are a low
middle-class family on a modest income.
HONORA Oh!
. . . Mackerel. We'll have them for lunch tomorrow.
Herbert
comes up behind Honora, gives her a peck on cheek and puts his hand on her bum.
HERBERT
Let's have 'em now, while they're fresh, eh, Nora?
Honora
playfully shoves his hand away.
HONORA I'll
think you'll find our Mr. Bayliss is not keen on seafood. I've got lamb chops in the
'frigerator.
Herbert
sighs as Honora puts the frying pan on the stove.
Young student boarder, STEVE BAYLISS, appears in doorway,
nervously clutching a record.
STEVE
Excuse me . . . would you mind if I put my long-playing record on?
HERBERT
You're partial to a nice bit of mackerel, aren't you, Steve?
STEVE Well
. . . actually, I'm not much of a fish man, Mr. Rieper.
Honora
glances at his album.
HONORA You
have been splashing out!
STEVE Oh!
. . . I've got my board money . . .
Steve
starts fishing in his pockets.
At this moment . . . Pauline comes into the kitchen, through
back door. She strides past Honora, Herbert and Steve.
PAULINE
(Brightly) Hello!
HONORA
Well? Tell us! How'd it go?
Pauline
disappears into the lounge.
PAULINE
(O.S.) (Calling) Got an A, Mum!
Honora
glows with pride. Steve is emptying his pockets on the bench. Honora pats Steve's hand.
HONORA
Don't worry about it now. We'll sort it out after dinner. You go put your record on.
HERBERT
Doris Day!
STEVE
I think she's very
talented!
INT.
RIEPERS'HOUSE/LOUNGE EVENING
CLOSE-UP. . . gramophone needle drops onto a record.
FAST PULL-BACK . . . from the speaker as the opening notes
of "Be My Love" by Mario Lanza burst out. Records from the cabinet lie scattered
on the floor. Pauline is clutching a Mario Lanza album.
Steve backs toward the hallway door, holding his Doris Day
album forlornly.
Herbert chuckles at him through the kitchen doorway.HERBERT
(Laughing) Ya gotta be quick in this house, mate!
Pauline stares misty-eyed at the album cover. Herbert calls
out.
HERBERT (O.S.) (Tongue in cheek) Hey! Isn't it that Irish singer .
. . Murray O' Lanza?
PAULINE (annoyed) He's Italian, Dad! The world's greatest tenor!
Mario
Lanza starts singing . . . Herbert comes into the lounge, miming the song with a limp
fish. Hw gesticulates a grand operatic fashion.
PAULINE Stop
it! You're spoiling it! Go away!
She
pushes Herbert out of the room, into the kitchen.
CUT TO:
EXT. SCHOOL GROUNDS DAY
It is the Phys Ed period and the 31 other girls of 3A are
lying on their backs in the quad doing leg stretches to tinny music. MRS. ZWARTZ, the
teacher, is patrolling the rows of flexing bodies.
MRS.
ZWARTZ Left, right . . .
Ieft, right . . . one and two and one and . . .
Pauline
and Juliet are sidelined on a bench. Pauline is writing in a textbook. She notices Juliet
glancing at her leg. Juliet moves closer.
JULIET Can
I have another look?
Pauline
purses her lips and quickly pushes her left stocking down . . . She has a large ugly scar
running up her left shin, from ankle to knee.
JULIET
That's so impressive!
Pauline
does not look convinced.
JULIET (Conspiratorial) I've got scars . . . they're on my lungs.
Pauline
looks surprised.
JULIET I
was in bed for months during the war, ravaged by respiratory illness.
CUT
TO:
INSERT:
INT. ENGLISH HOSPITAL ROOM NIGHT
Little 5-YEAR-OLD JULIET, alone in her hospital bed,
coughing and looking miserable.
JULIET (V.0.) Mummy and Daddy
sent me to the Bahamas to recuperate. I didn't see them for five yearsbut we're
together now and Mummy's promised they'll never leave me again.
INSERT:
INT. HOSPITAL ROOM NIGHT
PULL BACK from little 5-YEAR-OLD PAULINE. She is lying in
bed with a younger HERBERT and HONORA standing over her, looking very concerned.
PAULINE (V.0.) I spent ages in hospital, too . . . with my leg. I
had to have all these operations.
EXT.
SCHOOL GROUNDS DAY
PAULINE
Osteomyelitus turns your bones to chalk. It took them two years to drain all the muck
out.
Pauline
looks despondently at her leg.
JULIET
Cheer up! All the best people have bad chests and bone diseases! It's all frightfully
romantic!
CUT
TO:
EXT. COUNTRY ROAD DAY
Pauline is furiously pedalling her bicycle along a country
road.
EXT.
ILAM/DRIVEWAY DAY
LOW ANGLE . . . a tree-lined driveway.
Pauline rides her bicycle up the drive. She pauses,
wide-eyed.
PAN TO . . . ILAM a large stately house, set amongst
beautiful gardens . . .
Pauline puts her bike on its stand. She pulls the Mario
Lanza album out of her bicycle bag.
Pauline is about to approach the house when she glances
across the garden, and is transfixed by an enchanting sight:
Juliet on a sunlit bridge that spans the Ilam stream. She is
wearing a shredded chiffon dress, with a Christmas tinsel crown and a necklace made from
tinfoil. Sunlight filters through the trees, lending Juliet a magical quality. She's
casting flowers onto the water. Pauline stands transfixed. Juliet sees her and smiles.
JULIET Hi,
Paul!
SUDDENLY!
. . . an 8-year-old boy JONATHON HULME comes charging out of the bushes and
lays into Juliet with a wooden sword. He is dressed in a
"prince's" costume.
JULIET 0www!
Jonathon
runs away. Juliet gives chase, yelling to Pauline.
JULIET The
evil Prince Runnymeade is escaping! Get him, Paul!
Pauline
joins in the chase after Jonathon, careening through garden and bushes.
Juliet and Pauline lose sight of Jonathon. They pause in a
clearing, catching their breath.
JULIET The
blighter's gone to ground!
JONATHON
Yaaaa!
Jonathon
drops from a tree, onto Pauline, sending, her sprawling. He whacks her on the bottom with
his wooden sword.
JULIET
God! Jonty! Jontystop
it! Go away! We're not playing anymore . . . go on, bugger off!
Jonathon
pokes his tongue at Juliet, turns and runs away.
Juliet offers her hand and pulls Pauline up. She pauses, a
look of shock on her face . . .
The Mario Lanza record lies broken on the ground. Pauline
looks distraught.
JULIET 0h,
God . . . I'm so sorry!
PAULINE
(Upset) It doesn't matter.
JULIET Of
course it matters! It's Mario!
I NT.
ILAM/LOUNGE DAY
CLOSE ON . . . HENRY HULME a 44-year-old bespectacled academic. He is sniffing,
with a disdainful look on his face. He pulls a packet of mouldy sandwiches his
jacket pocket.
HENRY What
on earth are these?
HILDA
HULME, elegant, 36 years old, is setting down a tray of tea on a small table.
HILDA
They're egg and salmon sandwiches . . . I gave them to you several days ago.
HENRY I
thought I could smell sulphur.
HILDA God,
Henry! You're hopeless! You can't be trusted with something as simple as lunch.
JULIET
(O.S.) Mother!
Hilda
looks up as Juliet bursts into the room from the garden, followed by Pauline. Hilda smiles
at Pauline.
HILDA
Hello . . .
JULIET
Jonty broke Paul's record!
HILDA Oh,
dear!
JULIET We
must buy her another one!
Juliet
drops to the floor, hauling records out of the radiogram cabinet.
Pauline looks around, taking in the sumptuousness of her
surroundings: ornate fireplace, paintings, antique furniture.
HILDA
Would you like a cup of tea . . . Paul?
PAULINE No,
thank you.
HILDA
Well, Juliet's told us all about you. I hear you're fond of opera.
Before
Pauline can reply, Juliet fans Mario Lanza albums across the floor.
JULIET
Which one shall we play?
Pauline
shrugs awkwardly. Henry looks up from his papers, rather annoyed at this intrusion.
Pauline notices a row of beautifully sculpted Plasticine horses adorning the
mantelpiece.
Juliet puts a record on the turntable.
HILDA
Juliet . . . your father's trying to study.
JULIET
Daddy can study while we're playing records!
HENRY Why
don't you go back outside, mmm? I'll be finished soon.
The
record drops on the turntable. The arm swings across.
Henry and Hilda glance at each other. Henry silently gathers
up his papers and leaves the room.
The needle drops and Mario Lanzas rendition of
"The Donkey Serenade" booms into the room.
SWIRLING CAMERA as Juliet takes Pauline's hand and whirls
her around, leading her into . . .
INT.
ILAM HALLWAY DAY
. . . the hallway, laughing and singing. Pauline stares
wide-eyed as the wood paneling, carved sideboard and curved staircase flash past her eyes.
"The Donkey Serenade" continues over a MUSICAL
SEQUENCE:
EXT.
SCHOOL PLAYGROUND DAY
CAMERA RUSHES around a netball court as the class run about
in the middle of a game.
FAST TRACK IN toward Pauline and Juliet sitting on the
sidelines, reading. Juliet laughs as Pauline reads to her from a Biggles book.
EXT.
ILAM/GROUNDS DAY
Pauline and Juliet cavorting around bushes and shrubs, arms
outstretched, acting like dogfighting aeroplanes.
INT.
ILAM/DINING ROOM NIGHT
CAMERA MOVES around Hilda, Henry, Jonathon, Pauline and
Juliet at the table, having an evening meal. They are all sipping soup. Silver glistens,
crystal
sparkles.
Pauline
watches Hilda out of the corner of her eye. She cocks her little finger in the same
fashion as Hilda, and she spoons her soup up.
INT.
ILAM/JULIET'S BEDROOM DAY
Pauline and Juliet kneading and shaping Plasticine with
their fingers . . .
PULL BACK to reveal sculpted horses, knights and dragons on
the table top.
EXT.
ILAM GARDENS DAY
Henry is showing TWO DISTINGUISHED GUESTS (a MAN and WOMAN)
around the Ilam gardens, when Pauline and Juliet come bursting out of the bushes and run
between them, dressed in medieval clothing. They vanish into the bushes again.
EXT.
CINEMA/STREET DAY
Pauline and Juliet rush out of the cinema in a state of high
excitement . . .
. . . FAST TRACK as they bound down the street, pirouetting
and dancing as they pass bewildered PEDESTRIANS.
CUT
TO:
EXT. COUNTRY ROAD DAY
FAST TRACK CLOSE-UP . . . bicycle wheel spinning.
Pauline and Juliet are pedalling their bicycles like mad
down a narrow, tree-lined lane.
The "Donkey Serenade" continues . . .They have a
near-miss with an angrily tooting car.
Pauline wobbles out of control! . . . She goes flying into a
bush.
"The Donkey Serenade" finishes abruptly in
mid-verse.Pauline is lying on her back.
Pauline's POV . . . looking straight up into treetops and
blue sky. Juliet's face looms over, looking concerned.
JULIET (Worried) Paul? Oh, God! Paul . . . are you all right?
Paulines
eyes are shut. She speaks with great effort.
PAULINE (Gasping) I think I'm dying . . .
JULIET (Upset) Don't . . . please! Please, don't!
Dying breath
escapes from Pauline's mouth . . . she goes limp.
Juliet
shrieks!
JULIET
(Crying)
Paul!!!
Juliet
collapses over Paulines body, crying.
Paulines eyes flick open! She sniffs and pulls a face.
PAULINE
Urrrgh! You've been eating onions.
Before
Juliet has time to react, Pauline pushes her off, giggling maniacally. She leaps to her
feet and attempts to run. Juliet grabs Paulines cardigan, pulling her
backwards.
JULIET You toad!
Pauline sheds the cardigan and runs through the bushes, with
Juliet in hot pursuit!
RRRRIP! . . . Juliet tugs at Paulines blouse and the
buttons pop off. Pauline is laughing too hard to run anymore. She pulls off her skirt and
waves it around her head as she dances around the bushes, singing "The Donkey
Serenade."
PAULINE (Singing) "There's a light in her eye, Though she may
try to hide it, She cannot deny, There's a light in her eye."
Now
Juliet is cracking up at the sight of Pauline spinning around in her underwear, shoes and
socks.
Pauline circles around and around Juliet, singing. Juliet
hurriedly starts undressing down to her underwear.
Juliet giggles and starts jumping up and down.
Pauline suddenly breaks into a run and races through the
bushes. Juliet follows.
Both girls are screaming and hooting loudly. Pauline and
Juliet burst out of the bushes and . . .
PAULINE
& JULIET (Singing)
"Her face is a dream, like an angel I saw . . .
. .
. into a field. They find themselves face to face with a FARMER, mending a fence.
without
missing a beat, they continue singing . . .
PAULINE & JULIET (Singing) "But all that my darling can scream . .
."
. .
. then break down into convulsive laughter. They turn and flee back into the bushes.
ON THE SOUNDTRACK . . . Mario Lanza picks up "The
Donkey Serenade" at the point that Pauline and Juliet stopped. The song builds to a
rousing final chorus as . . .
Pauline and Juliet collapse on the ground, rolling and
tumbling in an embrace.
As Mario sings the last exhilarating notes . . .
CAMERA RISES UP VERTICALLY . . . up through the foliage . .
. past the branches of a tree which abruptly BLOCK CAMERA.
CUT
TO:
EXT. STREETS NIGHT
The final "OLE!" from "The Donkey
Serenade" resounds over a SHOT of Pauline cycling furiously through dark Christchurch
streets.
EXT.
ILAM NIGHT
TRACKING . . . down the drive as the dark shape of the Ilam
house looms ahead.
EXT.
ILAM/SHRINE NIGHT
A corner of the garden . . . Moonlight glistens off the
slow-moving stream.
Three candles illuminate a little shrine, nestled flower bed
in a remote corner of the Ilam garden.
Bricks have been stacked to form a miniature temple,
decorated with flowers and tinsel.
Pauline and Juliet are kneeling on the ground, clipping
pictures from film magazines. Clipped-out photos lie scattered about.
Pauline holds James Mason's photo.
PAULINE (Enraptured) I wish James would do a religious picture . .
. he'd be perfect as Jesus!
JULIET
Daddy says the Bible's a load of bunkum!
Pauline
reacts with a degree of shock.
PAULINE But,
we're all going to Heaven!
JULIET I'm
not! I'm going to the Fourth World! It's like Heaven, only better because there aren't any
Christians.
Pauline
giggles.
JULIET It's
an absolute Paradise of music, art and enjoyment.
Pauline
is entranced. Juliet plucks up some photos.
JULIET
James will be there . . . and Mario! Only theyll be saints.
PAULINE (Giggling) Saint Mario!
Juliet
places Mario Lanza's photo in the shrine.
JULIET To
be known as He!
PAULINE He .
. .
Juliet
places James Mason's photo in the shrine.
JULIET Him.
PAULINE Him
. . .
Juliet
picks up a photo of Mel Ferrer and places it in the shrine.
JULIET
This.
PAULINE
This . . .
Juliet
places Jussi Bjoerling's photo in the shrine.
JULIET
That.
PAULINE That
. . .
Pauline
places the last photo in the shrine . . . Orson Welles.
PAULINE It.
Juliet
screws her face up and throws the photo into the stream.
JULIET
Absolutely not! Orson Welles! The most hideous man alive!
Juliet
dramatically sweeps her hand over the photos in the shrine and bows her head.
JULIET We
give praise to . . . the saints!
Candlelight
flickers on Pauline s enraptured face.
The crumpled photo of Orson Welles floats down the stream.
With a sudden violent burst of sound, it is sucked into the weir.
CUT
TO:
INT. RIEPERS' HOUSE/LOUNGE - CHRISTMAS DAY, 1952
CLOSE-UP . . . a Christmas present is torn open . . .
followed by several more, in QUICK CUTS. Typical 1952 presents.
A Christmas tree adorns the Riepers' lounge. Some simple
streamers and ornaments decorate the room.
SUPER: "Christmas, 1952"
Honora, Herbert, WENDY and Pauline are sitting on the floor,
amid presents and discarded wrapping paper, GRANDMA PARKER is sitting in a chair.
Pauline unwraps her present . . . a diary. Her eyes light
up. Herbert leans over.
HERBERT Hope
it's all right. It's from Whitcomb and Tombs . . .
Pauline
opens the diary . . .
CUT
TO IN1: RIEPERS' HOUSE/PAULINE'S BEDROOM DAY
CLOSE-UP of the Jan. 1st page. Pauline's pen starts to write
. . .
PAULINE (Diary V.O.) I decided that my New Year's resolution is to
be more lenient with others.
CUT
TO:
INT: RIEPERS' HOUSE/DINING ROOM DAY
The table is laid with plates of sausage rolls and
sandwiches. Pauline is laying napkins out. Steve Bayliss wanders in.
STEVE
Pikelets! Yum!
PAULINE
(Appalled) Aren't you going out?
STEVE Not
till two-thirty . . .
He
reaches for a pikeletPauline pushes him away from the table.
PAULINE This
is a private function! Go away!
Steve
retreats, hurt and confused. Honora brings in a plate of scones.
The doorbell rings.
HONORA Come
on! Sausage rolls.
HERBERT (O.S.) Come on through.
Honora
and Pauline hurriedly work together, setting out plates and cutlery.
HERBERT Look
who I've found!
Honora
whips off her pinny as Herbert leads Juliet into the dining room.
HONORA Hello, Juliet.
JULIET
Hello, Mrs. Rieper . . . it's so nice to meet you.
Juliet
shakes hands with Honora.
CUT
TO:
LATER IN THE LUNCH:
Herbert, Honora, Pauline and Juliet are sitting at the
table, in the middle of lunch.
JULIET And
so, in a blazing fury, Charles runs Lancelot Trelawney through with his sword . . .
leaving Deborah free to accept Charles's proposal of marriage!
Honora
and Herbert exchange a glance. Honora smiles at Juliet.
HONORA I've
heard your mother on 3YA. The Woman's Session has lots of lively debate.
JULIET
Well, actually, Mummy's left that programme now . . she's far too busy with The Marriage
Guidance Council.
HERBERT They
sound like a queer mob!
PAULINE Dad!
HONORA I
wouldn't want my private business being discussed with a complete stranger!
JULIET Oh,
no . . . Mummy's awfully good at it.
INSERT
SCENE
INT. MARRIAGE GUIDANCE DAY
SEVERAL QUICK SHOTS . . . of Hilda chatting to UNHAPPY
COUPLES as Juliet's V.O. continues . . .
JULIET
(V.O.) She has deep discussions with unhappy couples and persuades them to have another go
at it. In two years, she's only had four divorces. She should really be working for
the U.N.!
WALTER
PERRY is now sitting across the table from Hilda. He is ruggedly handsome, in his mid-40s
WALTER My
wife's blaming me . . . says it's all my fault.
HILDA
And how do you
feel about that, Mr. Perry?
WALTER
Please . . . call me Bill. I don't know what went wrong. My wife feels . . .
HILDA No .
. . no . . . let's talk about your feelings . . . Bill.
The
air is crackling with subtext.
JULIET
(V.O.) Mummy has a
special technique called "Deep Therapy."
INT.
RIEPERS' HOUSE/DINING ROOM DAY (CONT.)
HERBERT
What's that?
JULIET I'm
not sure . . . but it's proving to be very popular!
Honora
and Herbert exchange a glance.
DING DONG! . . . doorbell rings. Honora gets up.
HONORA Eat
up, Yvonne.
She
leaves the room. Juliet raises her eyebrows at Pauline, who looks embarrassed.
PAULINE
(Quietly) It's my middle name.
Herbert
smiles at Juliet.
HERBERT
Yvonne tells us you're good at making models.
JULIET I
adore anything to do with the arts.
HERBERT
We're pretty handy with model making, too, eh?
Pauline
looks down, cheeks burning.
HERBERT
I've never
cottoned on to Plasticine like you girls, but I enjoy making things out of wood.
JULIET Are
you a carpenter, Mr. Rieper? Herbert shakes his head.
HERBERT I
work at Dennis Brothers Fish Supply.
Muffled
voices from the hallway.
PAULINE He's
the manager!
Honora
leads a young manJOHNinto the dining room.
HONORA (O.S.) This is the
dining room . . .
She
smiles at Juliet.
HONORA Do
excuse us.
She
leads John into the hallway.
HONORA (O.S.) Breakfast is
between seven and nine . . . the bedroom's small, but it's very clean and comfortable.
Pauline
scowls.
HERBERT This
story of yoursmaybe the school newspaper will print it when it's finished.
JULIET
Actually, Mr. Rieper . . . it's a novel, and well be sending it to New York. That's
where all the big publishing houses are based.
HERBERT
(Laughs) Is that a fact! You'd better put me name down for an advance copy!
Herbert
chuckles. Pauline and Juliet look at each with knowing smiles.
PAULINE
(Diary V.O.) We have decided how sad it is for other people that they cannot appreciate
our genius .
CUT
TO:
EXT. COUNTRY ROAD DAY
TRACKING ALONG . . . past trees with sunlight
streaming through the branches.
Pauline's V.O. continues . . .
PAULINE
(Diary V.O.) . . . but we hope the book will help them to do so a little, though no one
could fully appreciate us.
The
Hulmes' car is driving along a narrow, winding road on the way to Port Levy.
EXT.
WHARF DAY
SUPER: "Port Levy, Easter 1953"
Juliet, in her swimming costume, runs to the end of the
jetty and teeters nervously on the edge. Pauline fearlessly barrels past her and jumps in.
SERIES of BLACK & WHITE "HOLIDAY SNAPS":
Girls splashing in the water; Jonathon with ice cream
smeared over his face; Henry paddling with trousers and rolled up; Hilda on deck chair.
EXT.
PORT LEVY BEACH DAY
Pauline and Juliet are in the middle of building an
elaborate sand castle. Juliet is working on a tower.
LOW
ANGLE . . . TRACKING IN TOWARD the castle gateway.
JULIET
Charles clutches his wounded shoulder as he gallops into the courtyard.
ANGLE
. . . from inside tower as Pauline looks in through the window.
PAULINE
Deborah awaits his return in their private boudoir at the very top of the tower.
TRACKING
from sand castle courtyard, up steps into tower.
JULIET He
smells her scent from 50 paces and urges his steed onward!
CAMERA
rushes into . . . tower bedroom . . . PANS from Pauline's to Juliet's face, peering in
through windows.
PAULINE He
flings open the door and launches himself at the bed, ravishing her!
JULIET God,
yes!
Juliet
starts to giggle at a private thought.
JULIET
(Giggling) I bet she gets up the duff on their first night together!
Pauline
guffaws with delight. Jonathon is sitting nearby, digging a hole in the sand.
JONATHON
What's "up the duff"?
JULIET
Something you wouldn't understand.
Jonathon
launches himself at Juliet, and they roll on the sand, grappling.
JONATHON Tell
me! I'm almost 10!
JULIET
You're eight and a half and incredibly stupid!
Pauline
is laughing happily.
EXT.
COTTAGE DAY
Hilda sits on a deck chair in front of the cottage, brushing
Pauline's hair. Henry is seated at a table, writing a letter.
Juliet is lying on a towel, making notes in an exercise
book.
JULIET
Mummy . . . Pauline and I have decided the Charles and Deborah are going to have a baby.
An heir to the throne of Borovnia.
HILDA What
a splendid idea!
JULIET
We're calling him Diello.
HILDA
That's a good, dramatic name!
JULIET Paul
thought it up.
Pauline
beams.
HILDA
Aren't you clever! There, all done.
Pauline
stands. Juliet touches Paulines hair. Hilda laughs.
Henry is rifling through his briefcase.
HENRY
Hilda! I can't find that letter from the High Commission. They want our passport numbers.
JULIET
(Surprised) Are you going abroad, Daddy?
Hilda
scowls at Henry.
HILDA Your
father's attending a university conference in England, darling.
HENRY
We'll only be away for a few weeks.
Juliet
looks at Hilda, a trace of panic across her face.
JULIET
(Worried) You're
not going, are you, Mummy?
Hilda
hesitates.
HILDA Well
. . . I thought I might. It's a long time for your father and I to be apart.
JULIET But
I should go, too!
HILDA
Darling, you've got school. You've only just settled in.
JULIET But
Hilda
suddenly stands.
HILDA
Who's coming to
the shops? I need some cigarettes.
Jonathon
barrels out of the cottage.
JONATHON Me!
I'm coming.
HILDA
(O.S.) Put on your shoes, Jonathon!
CAMERA MOVES IN
. . . to Juliet's distraught face.
EXT.
PORT LEVY HILLSIDE EARLY EVENING
Clouds swirling about the sky.
A grassy hillside overlooking Port Levy bay. An island sits
in the bay, bathed in the last rays of sunlight.
Juliet is a tiny figure against the vast landscape. She runs
blindly toward the edge of the hill.
Pauline appears over the brow . . . the hillside is empty!
She panics, running, calling out.
PAULINE
(Worried) Julie! Julie!
Pauline
finds Juliet curled up in a little ball. She is motionless. Pauline gently takes Juliet in
her arms. Juliet is breathing heavily . . . she squeezes her eyes shut, concentrating
harda look of desperation on her face.
JULIET
Look, Paul!
Pauline
looks about, but can see nothing but a scrubby hillside. She looks mystified.
PAULINE
What?
JULIET It's
so beautiful!
PAULINE
What???
Golden
light streams on Pauline and Juliet. Pauline look up as the clouds above them open. Juliet
stands as if in trance. She offers her hand to Pauline.
JULIET Come
with me.
Juliet
pulls Pauline up and hugs her as they walk forward. The barren landscape around Pauline
and Juliet morphs into a beautiful garden . . . the Fourth World!
EXT.
FOURTH WORLD DAY
Pauline and Juliet are amazed! . . . They stand, holding
each other's hand tightly. The world around them take on a new form.
The grass beneath their feet has become a well-kept lawn.
They are surrounded by fountains and waterfalls. Unicorns graze on the hillside . . .
gigantic butterflies hover in the air.
Pauline and Juliet walk about in wonderment.
PAULINE
(Diary V.O.) Today Juliet and I discovered the key to the Fourth World. We have had it in
our possession for about six months, but we only realised it on the day of the Death
of Christ. We saw a gateway through the clouds. Everything was full of peace and bliss. We
then realised we had the key . . .
CUT
TO:
INT. HULMES' CAR/COUNTRYSIDE DAY
As Pauline's V.O. continues . . . CAMERA TRACKS IN SLOWLY,
past Henry and Hilda, to a SHOT of Pauline and Juliet sitting quietly, staring ahead,
blissfully.
PAULINE
(Diary V0.) We
have an extra part of our brain which can appreciate the Fourth World. Only about 10
people have it. On two days every year we may use
the key and look into that beautiful world which we have been lucky enough to be allowed
to know of . . .
EXT.
COUNTRYSIDE DAY
WIDE SHOT . . . the Hulmes' car, a small speck at the BOTTOM
OF FRAME, winding over the hills.
Above . . . billowing cumulus clouds fill the sky.
PAULINE
(Diary V.O.) . . . on this Day of Finding the Key to the Way through the Clouds.
CUT
TO:
INT. ILAM/JULIET'S BEDROOM DAY
CLOSE-UP . . .Juliet's face twisted with pain. She gasps as
if in labour. Short, harsh panting. Pauline look panic-stricken.
PAULINE
Push! . . . Breathe! . . . It's coming! . . . Oh, God!
PULL OUT . . . to reveal Juliet lying on her bed, in
childbirth pose. Her pregnant stomach is pushing at the seams of her school dress.
Juliet wails . . . Pauline pulls out a pillow from between
Juliet's legs, her face a mixture of surprise and elation.
PAULINE It's
a boy! Deborah . . . we've got a son and heir!
Pauline
hands Juliet the pillow. She cradles it in her arms.
JULIET I
shall call him Diello.
PAULINE
You're such an incredible woman.
JULIET I
couldn't have done it without you, Charles.
INT. SCHOOL/ENGLISH CLASS DAY
"THE ROLE OF THE ROYAL FAMILY TODAY"
written on the blackboard. Mrs. Stevens is presiding over Form 4A.
Juliet is standing at the front of the class, reading from
an essay.
JULIET . .
. the Empress Deborah has the difficulty fending off her husband, who tries his way with
her morning, noon and night . . .
The
class titters . . . they clearly want to Iaugh Stevens's glare deters them.
Pauline sits at the back, smirking.
MRS.
STEVENS (Icy) Thank you,
Juliet!
JULIET . .
. However, the Queen's biggest problem is her renegade child, Diello. He has proven to be
an uncontrollable little brighter, who slaughters his nannies whenever the fancy
takes him . . .
MRS.
STEVENS That's enough,
Juliet!
Juliet
stops and stands quietly. Mrs. Stevens rips the essay out of her hand and waves it under
her nose.
MRS.
STEVENS I suppose this is
your idea of a joke?
JULIET No,
Mrs. Stevens.
MRS.
STEVENS I suppose you
think it's witty and clever to mock the Royal Family . . . to poke fun a the Empire, with
this . . . rubbish!
Pauline
leaps to her feet.
PAULINE It's
not rubbish!
MRS.
STEVENS Sit down,
Pauline!
JULIET I
really don't understand why you are upset, Mrs. Steven. I merely wrote an essay on the
Royal Family as requested.
Pauline
points at the blackboard.
PAULINE It
doesn't say it has to be the Windsors!
MRS.
STEVENS (Yelling) Sit
down!
Pauline
sits down, looking victorious.
MRS.
STEVENS (To Juliet) A girl
like you should be setting an example! To your seat!
Juliet
starts coughing. Mrs. Stevenss face darkens.
MRS.
STEVENS Stop it, Juliet!
Juliet
continues coughing. She sits heavily. Pauline snorts, trying not to laugh.
Juliet slumps over her desk, coughing . . . globules of blood splatter her exercise book.
Paulines smile vanishes.
CUT
TO:
INT. RIEPERS HOUSE/HALLWAY NIGHT
Pauline is standing in the hallway, holding the phone to her
ear. She slowly lowers it, her face shocked.
PAULINE
(Diary V.O.) Mrs.
Hulme told me they had found out today that Juliet has tuberculosis on one lung. Poor
Julietta. I nearly fainted when I heard. I had a terrible job not to cry.
CUT
TO:
INT. RIEPERS' HOUSE/PAULINE'S SLEEPOUT MORNING
Pauline is lying in her bed looking depressed. She writes
her diary.
PAULINE
(Diary V.O.) I
spent a wretched night. It would be wonderful if I could get tuberculosis, too.
Honora
comes in with a breakfast tray: bacon and eggs, tea and toast.
HONORA Come
on, sit up.
PAULINE I'm
not hungry.
HONORA
You've got to eat, Yvonne. You hardly touched our dinner. I'm not having you falling ill.
PAULINE I
just want to be on my own for a while.
Honora
starts to cut up a slice of bacon and offers it to Pauline.
HONORA You
may have forgotten that you were once a very sick little girl, but I haven't!
Honora
holds up a loaded fork. Pauline reluctantly takes it.
PAULINE Do
you think Juliet could stay here while her parents are away?
HONORA
Juliet's infectious . . . she'll be going to hospital.
PAULINE But
she'll have no one to look after her!
HONORA Her
parents won't be going overseas now . . . theyll have to cancel their trip. Don't
worry about Juliet.
MATCH
CUT TO:
INT. CASHMERE SANATORIUM/JULIET'S ROOM DAY
The back of Hilda's head rises through SHOT, revealing
Juliet lying in a hospital bed, looking weak. Hilda has just kissed her on the forehead.
Juliet is upset.
HILDA It's
not too late to cancel our travel arrangements . . . if that's what you want?
Juliet
tearfully shakes her head. Henry is standing at the foot of the bed, hands behind his
back.
HENRY
I'm sure you'll
like it here . . . it's very tranquil.
HILDA I've
spoken to the Matron, and she promises to take special care of you.
HENRY And
you can carry on with your studies while you convalesce.
Hilda
touches Juliets hand, and leans forward . . . a concerned look on her face.
HILDA It's
for the good of your health, darling.
Juliet
looks at her mother, eyes filling with tears. Henry pats her feet.
HENRY
Cheer up, old thing . . . four months will fly by in no time.
CUT
TO:
INT. SANATORIUM/CORRIDOR DAY
Henry and Hilda walk up the corridor past sick patients in
wheelchairs.
EXT.
SANATORIUM DAY
Juliet's POV through the window . . . as her parents' car
disappears down the road.
INT.
SANATORIUM/)ULIET'S ROOM DAY
Juliet watches them drive away, tears streaming down her
face.
HONORA (V.O.) Juliet won't be
allowed visitors for at least a couple of months.
INT.
RIEPERS' HOUSE/DINING ROOM NIGHT
Pauline is unenthusiastically picking at her dinner.
HONORA I've
booked you in for a chest X-ray . . . just to be on the safe side.
Honora
pops a couple more potatoes on Pauline's plate. Herbert glances at Pauline.
HERBERT
Thought I'd have a
go at building the birdhouse on Saturday . . . anyone want to give me a hand?
Pauline
remains silent.
HONORA You
used to love making things with Dad, Yvonne.
MOVE
IN . . . on Pauline, who has not been listening.
PAULINE
(Diary V.O.) This
evening I had a brainwave: that Juliet and I should write to each other as Charles and
Deborah.
INT.
RIEPERS' HOUSE/PAULINE'S SLEEPOUT NIGHT
Pauline is lying on her bed, furiously writing a letter.
PAULINE
(Diary V.O.) I wrote a six-page letter as Charles and a two-page letter as Paul.
INT.
SANATORIUM DAY
Juliet lies on her bed, writing to Pauline.
PAULINE
(Diary V.O.) She has entered into the spirit of the thing greatly!
As
we listen to Juliet's V.O., we see SCENES of TB hospital life . . . the meals brought
around . . . the dayroom . . . the DOCTORS.
JULIET
(Letter V.O.) My dear Charles, I miss you and adore you in equal amounts and long for the
day we will be reunited, but as I languish here, in this house of disease and
decrepitude, my mind turnswith increasing frequency to the problem of our son
. . .
INT.
SANATORIUM/JULIET'S ROOM DAY
Juliet sits at a desk. sculpting and painting a Plasticine
figure of Diello.
As her V.O. continues . . . TRACK INTO a CLOSE-UP of
Diello's fierce little face . . .
JULIET
(Letter V.O.) Although only 10, Diello has thus far killed 57 people and shows no desire
to stop . . . it worries me, Charles.
CUT TO:
INT. RIEPERS' HOUSE/KITCHEN, LOUNGE DAY
CLOSE-UP of Pauline's hand, writing a letter to Juliet.
PAULINE
(Letter V.O.) My dearest darling Deborah. Affairs of state continue to occupy my time.
Pauline washes a
pile of dishes in the kitchen.
PAULINE
(Letter V.O.) I have to report that the lower classes are terrifically dull.
Pauline
is sitting in the lounge, looking very boring during a game of Lexicon with Herbert, John
and a ROSS. Pauline is waiting for her turn, unaware that John is studying her from across
the table. Her word PUTRID spelled out.
PAULINE
(Letter V.O.) Only
yesterday I was compelled to execute several peasants just to alleviate the boredom . . .
CUT
TO:
INT. SCHOOL/ART CLASS DAY
Pauline is hunched over a painting in the art class, daubing
great strokes of red paint onto a violent medieval carnage.
PAULINE
(Letter V.O.) . . . Diello insisted on coming along . . . in fact, he made such a fuss
that I had to let him yield the ax himself. Heads did roll! Not just the prisoners,
but the royal guard, my valet and several unfortunate copped it as well . . .
IMAGES
of Pauline's painting: people being run through with swords, heads coming off, etc.
CUT TO:
INT. SANATORIUM/DAYROOM DAY
Juliet is sitting, writing in the sunny dayroom.
JULIET
(Letter V.O.) Oh, Charles . . . I am despair enough to put Diello in the hands of the
Cardinal, in hope that a good dose of religion will set the young chap on the right
path.
REVEREND
NORRIS Hello again . . .
Juliet
peers up at a DOG-COLLARED VICAR. She eyes him coldly.
REVEREND
NORRIS How are you
getting along? It must be awfully hard being away from your school chums . . . Ive
got something here you might just like to have a look at.
He
hands Juliet a leaflet featuring a thin, withered figure in a great deal of pain.
"JESUS LOVES YOU" is printed across the top.
Juliets face hardens.
REVEREND
NORRIS Unfortunately,
modern medicine can only go so far in combatting an illness like TB. And thats why
I'm here . . . because with the power of God, miracles can happen. The Lord has said
that those who have faith will be saved! Reach out, Juliet! Reach out for Jesus!
During
Reverend Norris's speech . . . CAMERA closes in to BIG CLOSE-UP of Juliet's face. Reverend
Norris's voice fades away. . .
SUDDENLY!!!
A silhouetted figure rises up behind Reverend Norris . . . a
lumpy hand closes around his throat!
REVEREND
NORRIS Aaaaarghhh!!!
Diello
the Plasticine figurine, now life-size drags Reverend Norris off his feet
and across the room.
Reverend Norris kicks and struggles as Diello hauls him
through the doorway onto . . .
EXT.
BOROVNIA CASTLE COURTYARD DAY
. . . a scaffold in the town square of Borovnia. A medieval
fantasy kingdom. NICHOLAS watches from a street corner.
Reverend Norris is grabbed by two BURLY PLASTICINE GUARDS.
They hold him down, his neck on a chopping block. Diello grabs a huge ax, swings it up
above
his head, and brings it crashing down onto . . .
REVEREND NORRIS'S NECK!!!
CHOP
TO:
INT. SANATORIUM/CORRIDOR DAY
CRASH! . . . swing doors burst open. Pauline hurries into
the hospital corridor. Honora follows behind her. Within sight of the dayroom, Pauline
breaks into a run, nearly bowling a NURSE over.
HONORA Yvonne!
INT.
SANATORIUM/DAY ROOM DAY
Pauline rushes over to Juliet, who is seated by a window,
knitting. They hug tightly.
JULIET I'm
so happy to see you!
Honora
hurries over.
HONORA It's
best not to get too close. Juliet's still not a hundred percent. Hello, Juliet! We've
bought you some fruit.
JULIET
Thank you so much!
Juliet
sits back in her chair. She holds Pauline's hand. Honora admires Juliets knittinga
red cardigan.
HONORA
That's coming along well!
JULIET
(Pleased) I'm the Matron's favourite patient and she's shown me her special stitch!
PAULINE I
love the colour!
Juliet
smiles at Pauline.
JULIET It's
for you.
Pauline
squeezes Juliets hand.
INT.JULIET'S
ROOM DAY
Honora is looking at some mail on a small table. Pauline is
sitting at Juliet's bedside.
HONORA
Goodness me! What a lot of letters. Are your parents enjoying their trip? Oh . . . there's
a couple of unopened ones, dear.
JULIET
(Sarcastically) I'm saving them for a rainy day.
Honora
gives her a sympathetic look.
HONORA I
know it's hard for you being in here, but it is for the good of your health.
JULIET
(Bitterly) They sent me off to the Bahamas "for the good of my health." They
sent me to the Bay of bloody Islands "for the good of my health."
Honora
looks startled at the outburst.
JULIET I'm
sorry, Mrs. Rieper. I'm feeling quite fatigued.
HONORA
We don't want to
tire you out, dear.
Honora
stands and picks up her handbag. Pauline stands and Juliet grabs her hand.
JULIET
Can't you stay a bit longer, Paul?
Pauline
looks at Honora.
HONORA
We've got a tram to catch, Yvonne.
Pauline
hugs Juliet and reluctantly takes her leave.
CUT
TO:
INT. RIEPERS' HOUSE/PAULINE'S SLEEPOUT EVENING
CLOSE-UP . . . Plasticine figure of Nicholas. John's hand
comes into SHOT and picks the model up. Pauline looks on anxiously . . . the face of
Nicholas bears more than a passing resemblance to John, but he doesn't seem to
notice.
JOHN This
is quite something . . . you're damn clever.
Pauline
beams.
JOHN So .
. . Deborah is married to Charles, and this chap Nicholas . . . is her tennis instructor?
PAULINE Yes,
but there's nothing between them. Deborah would never go for a commoner. Nicholas has got
his eye on Gina, an amazingly beautiful gypsy.
She
gestures to a Plasticine GINA figure that is sitting or the shelf.
JOHN Looks like
you, Yvonne.
Pauline
beams.
PAULINE Juliet
made it!
John
smiles.
JOHN This
is really quite incredible. l bet you girls know the entire royal lineage for the last
five centuries.
PAULINE Oh,
yes! It's all worked out!
John
returns Nicholas to the shelf, placing him amidst whole family of beautifully sculpted
Plasticine figures. Pauline self-consciously returns to her sculpting,
aware that John is watching her keenly.
EXT.
SANATORIUM/GARDEN DAY
Pauline is sitting cross-legged at the foot of Juliet's bed.
PAULINE
(Whispers) You'll never guess what's happened!!
JULIET
What??
PAULINE
John has fallen in
love with me!
JULIET That
idiot boarder?
Pauline
beams.
JULIET How
do you know? Did he tell you?
PAULINE Well
. . . no. But it's so obvious.
Pauline
giggles. Juliet turns away.
JULIET
(Sullen) Is that why you haven't replied to my last letter?
Paulines
smile disappears.
PAULINE No,
silly. I'm just teasing. He's only a stupid boy!
CUT
TO:
INT. RIEPERS' HOUSE/PAULINE'S SLEEPOUT NIGHT
Pauline is lying in bed asleep. Her door opens and John
stands tentatively in the door way. He is wearing stripey pyjamas.
JOHN
(Loud whisper) Yvonne!
Pauline
sits up, groggily flicking on a bedside light.
PAULINE
Whaddya want?
John
puts his fingers to his lips to shush her.
JOHN
(Whispers) l can't sleep . . . can l borrow a book?
PAULINE
(Whispers) Shut the door.
John tiptoes across to the bookshelf He pulls a book out . .
. "Girls' Own Annual 1951."
JOHN This
looks interesting.
Pauline
gives him a dubious look from her bed.
John stands shivering, flicking through the annual.
JOHN
These knitting
patterns look damn complicated. Have you tried the tea cosy?
Pauline
shakes her head and looks on as John continues to thumb awkwardly through the book, his
shivers increasing.
He glances at Pauline nervously.
JOHN It's
damn cold, isn't it? Do you think I could hop into bed for a moment . . . just to warm up?
My feet are like iceblocks.
PAULINE You
should have worn your slippers.
JOHN Come
on, Yvonne, I'll catch me death!
Pauline
rolls to one side.
PAULINE Just
for a minute.
John
climbs into bed beside Pauline and pulls the blankets up around his chin.
CUT
TO:
EXT. RIEPERS' HOUSE NIGHT
Midnight at 31 Gloucester St. All the lights are off.
PAULINE
(Diary V.O.) To
think that so much could happen in so little time, caused by so few. A terrible tragedy
has occurred . . .
INT.
RIEPERS' HOUSE/PAULINE'S SLEEPOUT NIGHT
Pauline is lying in bed. The lights are off.
PAULINE
(Theatrical voice)
"Now, gels . . . it isnt ooo, its eee," and she goes . . .
"eeeeee" as if someone is jabbing a pin into her! Silly old trout!
PULL
OUT during Pauline's
V.O.... to reveal John lying in bed beside her. He cuddles up to her.
JOHN I
love you, Yvonne.
Pauline
continues, oblivious to his attentions.
PAULINE And
then in history, we've got this senile old bat, who goes . . . (Squawky voice) "And
Charles the Second met Nell Gwynn aboard a boat and he was a prince and she was a
pretty young thing and these thing do happen . . ." (Normal voice) God! It's no
wonder I dont excel in history!
JOHN Do
you love me as much as I love you?
PAULINE 0f
course, my darling Nicholas.
John
can't contain himself . . . he starts pressing himself against her body.
JOHN
(Panting) My . . .
my name's John.
Pauline
lies on her back, not responding to his caresses.
PAULINE I
like Nicholas much better!
John
climbs on top of Pauline.
JOHN You
can call me anything you like . . .
John
fumbles around beneath the sheets.
PAULINE What
are you doing?
JOHN
Nothing . . .
SUDDENLY!
The outside light flicks on. Sound of footsteps stomping
down the path.
THE DOOR OPENS!
PAULINE
Bloody hell!
John
desperately tries to conceal himself beneath the bedcovers as . . .
The light flicks on . . . Herbert stands in the doorway. He
surveys the situation with a grim expression.
John rolls out of bed and staggers toward the door fumbling
with his pyjama cord.
HERBERT Go
to the house.
John
scuttles out of the sleepout. Pauline lies still in bed, peering at her father.
HERBERT
(Upset) You have broken my heart, Yvonne.
Herbert
turns and leaves the room. Pauline stares at the ceiling.
PAULINE
(Diary V.O.) I lay there mesmerised. It was just too frightful to believe . . .
CUT
TO:
INT. RIEPERS' HOUSE/DINING ROOM MORNING BREAKFAST . .
.
A plate of Weetbix bangs down on the table in front of
Pauline. Milk sloshes over the side of the bowl. Honora looks thunderous and stomps off.
PAULINE
(Diary V.O.) When I got up I found Father had told Mother . . .
CAMERA
PULLS BACK to reveal Steve, Ross, a new boarder, LAURIE, and Herbert seated around the
table. The boarders are clearly oblivious to the tense family
vibes.
LAURIE
Coming to Lancaster Park on Saturday, Mr. Rieper?
Herbert
shakes his head, sullenly.
Wendy hurries into the room, grabs a piece of toast, pulling
on a coat.
WENDY
Where's John? He said he'd walk with me.
Honora
stands in the doorway.
HONORA
John's no longer staying here.
Wendy
looks surprised.
LAURIE Shot
through, this morning . . . said his old Mum had taken sick.
INT.
RIEPFRS' HOUSE/KITCHEN MORNING
Pauline is washing dishes, up to her elbows in soapy water.
Behind her Honora tidies up, glowering at her daughter.
PAULINE
(Diary V.O.) I had a nasty foreboding feeling at first, but now I realise my crime was too
frightful for an ordinary lecture.
HONORA
(Angry) From now on, you're sleeping in the house, where we can keep an eye on you.
Pauline
bangs a dish into the rack.
HONORA
(Angry) If you think for one minute that your father and I will tolerate this sort of
behaviour, you've got another thing coming! You're only 14!!! You're a child! What on
earth's the matter with you, Yvonne? You know what can happen with boys . . . Don't you
have any self-respect?
Honora
sighs.
PAULINE Can
I go now?
Honora
grabs Pauline by the shoulders.
HONORA You
think you're such a clever little madam! You had your father in tears last night!
Pauline
flinches.
HONORA My
God, what a disgrace you are! You shame me, you shame the family. You're nothing but a
cheap little tart!
PAULINE
Well, I guess I take after you then!
Honora
whirls around and slaps Pauline on the cheek.
PAULINE You
ran off with Dad when you were only 17! Nana Parker told me!
Honora
steps back.
HONORA
(Softly) You're going to be late.
Pauline
triumphantly walks past her mother. Honora barely reacts as Pauline hurries out.
CUT
TO: EXT. RIEPERS' HOUSE NIGHT
Midnight at 31 Gloucester St. All lights are off.
PAULINE
(Diary V.O.) I am terribly cut up. I miss Nicholas terrifically. Mother thinks I will have
nothing more to do with him, but little she knows . . .
The front door quietly opens and Pauline sneaks out.
Pauline pedals her bicycle furiously along dark streets.
EXT.
BOARDING HOUSE NIGHT
Pauline climbs up a fire escape.
John comes out onto the balcony and hugs her.
PAULINE
(Diary V.O.) Nicholas was pleased that I was so early.
John
and Pauline disappear into his room . . .
WIDE SHOT of the house, as Pauline's V.O. continues . . .
PAULINE
(Diary V.O.) We sat around and talked for an hour and then went to bed. I declined the
invitation at first, but he became very masterful and I had no option. I discovered
that I had not lost my virginity on Thursday night. However, there is no doubt whatsoever
that I have now . . .
CRASH
CUT TO:
INT. BOARDING HOUSE/JOHN'S BEDROOM NIGHT
Pauline is lying on the bed, with John thrusting away on top
of her. John grunts and groans . . . Pauline remains unmoved and uninvolved.
DISSOLVE
TO:
EXT. BOROVNIA DAY
The noonday sun glows in the sky.
Pauline opens her eyes . . . she is lying in a field of the
most amazingly colourful flowers.
She stands and looks around her with amazement. She smiles
happily.
On one side are fantasy cottages with crooked chimneys and
thatched roofs . . . on the other tower the walls of Borovnia Castle.
Music comes wafting out of the castle gates . . . Mario Lanza singing
"Funiculi, Funicula."
Pauline
walks through the gates, beneath the portcullis, and into...
EXT.
BOROVNIA CASTLE COURTYARD DAY
. . . the courtyard. A fte is in progress. The
courtyard is full of PLASTICINE PEOPLE, laughing and singing amidst stalls and sideshows.
Pauline pushes her way through the crowd. A Plasticine
finger taps her shoulder . . . she spins around and gasps!
PAULINE
Charles!
The
PLASTICINE KING smiles.
CHARLES
(James Mason
voice) Hello, Gina . . . great to see you here!
He
turns away. Pauline scans the crowd. She gets a fleeting glimpse of the back of a ROBED
WOMAN.
PAULINE
(Calling) Deborah!
Deborah
does not hear, and Pauline desperately pushes between Plasticine people to try and reach
her.
A blur of Plasticine faces slide past . . .
CRASH
CUT TO:
INT. BOARDING HOUSE/JOHN'S BEDROOM
CLOSE-U P . . . John's sweaty face, still grunting
furiously.
CRASH
CUT TO:
EXT. BOROVNIA CASTLE COURTYARD DAY
Pauline finds herself pulled into the arms of a
fierce-looking PLASTICINE KNIGHT.
PAULINE
(Breathless) Diello!
DIELLO
(Orson Welles voice) Careful, Gina. . . we almost lost you!
Diello
suddenly steps back, draws his sword and expertly runs a passing PEASANT through.
He sweeps his hat off and bows at Pauline.
DIELLO
(Orson Welles voice) For you, my lady!
Pauline
beams. Her eye is again caught by Deborahs Plasticine figure across the crowd . . .
her back is still turned.
PAULINE
Deborah!
Deborah
slowly turns around . . . she has a human faceJuliet!
Tears of joy trickle down Paulines cheeks.
Juliet is laughing and smiling, looking beautiful.
Diello gently wipes Paulines tears.
DIELLO (Orson
Welles voice) You're crying, Gina . . . dont be sad.
Another
Plasticine arm tugs at Pauline's shoulder . . . she turns and looks straight at the figure
of . . .
NICHOLAS!
NICHOLAS
(John s voice) Yvonne!
QUICK
CUTS . . .
Nicholas's
Plasticine face . . .
John's face in the bedroom . . .
Nicholas . . .
John . . .
Nicholas . . .
CRASH
CUT TO:
INT. BOARDING HOUSE/JOHN'S ROOM NIGHT
CLOSE-UP . . . John's face looming over Pauline.
JOHN
Yvonne!
Pauline
is lying on the bed beneath him. She looks at him with glazed eyes.
She pushes John away and sits up in bed.
JOHN
(Worried) I didn't hurt you, did I?
Pauline
jumps out of bed and starts to dress.
PAULINE I've
got to go home.
John
jumps out of bed and wraps his arms around her.
JOHN I
love you so much.
MOVE
IN . . . on Pauline's emotionless face.
CUT
TO:
INT. SANATORIUM/CORRIDOR DAY
Pauline is hurrying down the sanatorium corridor . . . she
breaks into a run.
INT.
SANATORIUM/JULIET'S ROOM DAY
Juliet is sitting by her bed, fully clothed. Her suitcases
are packed and lie on the bed.
Pauline runs into the room. Juliet stands and they embrace
hugging each other tightly.
Henry enters the room and frowns at the sight of the girls
hugging. Juliet reaches out for Henry and pulls him into the embrace. He looks decidedly
ill at ease as Pauline's black hair nuzzles against his neck.
EXT.
STREETS DAY
TRACKING BACK . . . as the Hulmes' car drives toward CAMERA.
Pauline's V.O. starts, reading her poem "The Ones That
I Worship":
PAULINE
(Poem V.O.) There are living among two dutiful daughters.
INT.
HULMES' CAR DAY
Pauline and Juliet are sitting together in the back seat.
PAULINE
(Poem V.O.) Of a man who possesses two beautiful daughters,
Henry
adjusts the rearview mirror and catches sight of their clasped hands.
PAULINE
(Poem V.O.) You cannot know nor yet try to guess,/The sweet soothingness of their caress,
Henrys
steely gaze in the rearview mirror.
The poem continues over a visual montage:
EXT.
ILAM DRIVEWAY DAY
The Hulmes' car pulls up outside Ilam.
PAULINE
(Poem V.O.) The outstanding genius of this pair is understood by few,/They are so rare. .
.
Hilda
emerges out of the house. Juliet gives her a big hug.
JULIET
Mummy!
HILDA
Darling! Welcome home!
EXT.
STREET DAY
Pauline and Juliet sitting in a tram as it crawls along
slowly.
John is running alongside, waving and calling, trying to get
Pauline's attention. He is clearly pleading with her, but to no avail.
JOHN
Yvonne! Stop! I still love you!
PAULINE
(Poem V.O.) Compared with these two, every man is a fool,/The world is most honoured that
they should deign to rule,/And I worship the power of these lovely two,/ With that
adoring love known to so few . . .
Pauline
looks knowingly at Juliet, then down to John, hurrying along the street.
MATCH
CUT TO:
EXT. BOROVNIA CASTLE GATES DAY
The Plasticine figure of Nicholas, hurrying down the passage
toward the castle gates.
In an alcove beside the gate, the Plasticine figure of
Diello is lurking in the shadows, dagger in hand. Beside him is the rope winch that
operates the portcullis.
Footsteps approach . . .Diello presses himself back into the
corner . . .
Nicholas walks briskly. As he nears the portcullis, he
espies something twinkling on the ground.
LOW ANGLE . . . Nicholas stops, looks down. Directly above
him are the jagged teeth of the portcullis.
He reaches down . . . for a silver ring, set with a small
pink stone. It is lying on the ground, as if dropped by somebody.
SUDDENLY!
Diello slashes the rope with his dagger. Before Nicholas can
react, the portcullis crashes down on him. His Plasticine body is crushed.
Nicholas's twitching fingers release the brooch. It falls to
the ground and breaks. The pink stone pops out of its setting, rolls down the path and
comes to rest by Pauline's and Juliet's feet.
Juliet picks up the pink stone. She holds it up and it
twinkles in the sunlight.
PAULINE
(Poem V.O.) 'Tis indeed a miracle, one must feel, That two such heavenly creatures are
real,
DISSOLVE
TO:
INT. ILAM/BATH ROOM N IGHT
CLOSE-UP . . . Pauline's face, staring intently ahead.
PAULINE (Poem
V.O.) Hatred burning bright in the brown eyes with enemies for fuel,
CLOSE-UP
. . . Juliet's face, staring intently ahead.
PAULINE
(Poem V.O.) Icy scorn glitters in the gray eyes, contemptuous and cruel, Why are men such
fools they will not realise,
PULL
OUT . . . to show Pauline and Juliet lying in opposite ends of a hot, steaming bath,
staring at each other.
PAULINE
(Poem V.O.) The wisdom that is hidden behind those strange eyes.
INT.
ILAM/)ULIET'S BEDROOM NIGHT
POEM CONTINUES AS . . .
Pauline and Juliet . . . sleeping in each other's arms in
bed.
PAULINE (Poem V.O.) And these wonderful
people are you and I.
FAST
TRACK IN . . . to the bedroom door.
Henry is silently observing the two sleeping girls, his face
stoney.
Sound of a distant thunderclap . . .
CUT
TO:
INT. RIEPERS'HOUSE/HALLWAY NIGHT
Henry is standing on the Riepers' doorstep. Lightning
flashes light up his face like something out of a gothic horror.
HENRY Mrs.
Rieper . . . may I come in?
Honora
is standing, holding the door open, looking rather surprised at the unexpected visitor.
HONORA
(Surprised) Yes, of course.
INT. RIEPERS'
HOUSE/LOUNGE NIGHT
Henry and Honora are sitting in the lounge. Henry looking rather uncomfortable on the edge
of a shabby armchair. Herbert is at a drinks cabinet unscrewing the top off a bottle.
HENRY
Your daughter's .
. . an imaginative and a spirited girl
HONORA If
she's spending too much time at your house, you only need to say. All those nights she
spends overshes assured us that you don't mind . . .
HENRY It's
rather more complicated than that. Since Mrs. Hulme and I have returned home, Juliet has
been behaving in a rather disturbed manner . . . surliness, short temper . . .
general irritabilitymost uncharacteristic.
Herbert
is pouring a drink.
HERBERT Sure
I can't tempt you to a nice sherry, Dr. Hulme?
HENRY No,
thank you. The thing is . . .
HONORA
Yvonne hasn't been herself, either. Locking herself away in her room . . . endlessly
writing.
Herbert
sits down next to Honora, glass of sherry in hand.
HENRY My
wife and I feel the friendship is . . . unhealthy.
HERBERT No
arguments there, Dr. Hulme! All that time inside working on those novels of theirs. They
don't get fresh air or exercise!
Honora
frowns at Henry.
HONORA
(Concerned) I'm not sure what you mean, Dr. Hulme.
Henry
pauses for a moment.
HENRY Your
daughter appears to have formed a rather . . . unwholesome attachment to Juliet.
HONORA
(Worried) What's
she done???
HENRY
She hasn't done
anything . . . it's the intensity of the friendship that concerns me. I think we should
avert trouble before it starts.
Henry
hands a business card to Honora.
HENRY Dr.
Bennett is a very good friend. He's a general physician, but has some expertise in child
psychology. If Pauline is indeed developing in a rather . . . er . . . wayward
fashion, Dr. Bennett is the ideal man to set her back on track.
CUT
TO:
INT. DR. BENNETT'S SURGERY DAY
Pauline is slouched in a chair, looking very sullen.
DR.
BENNETT (O.S.) What about
your studies . . . are you enjoying school?
DR.
BENNETT is seated behind his desk. Pauline is silent. She looks at the ceiling. Honora is
sitting next to Pauline.
DR.
BENNETT Are you happy at
home? Pauline is silent.
HONORA
Answer Dr. Bennett, Yvonne.
Pauline
remains silent.
HONORA
(Annoyed) Yvonne!
DR.
BENNETT Mrs. Rieper . . .
perhaps you wouldn't mind waiting outside.
Honora
leaves the room.
DR.
BENNETT Do you like your
mother?
Pauline
hesitates for a moment.
PAULINE No.
DR.
BENNETT And why is that?
PAULINE She
nags me.
DR.
BENNETT And that's why
you like to stay with the Hulmes?
Pauline
looks wary. She doesn't answer.
DR.
BENNETT Or is it because
you want to be with Juliet?
No answer.
DR.
BENNETT Do you . . . like
girls?
PAULINE No.
DR.
BENNETT Why not?
PAULINE
They're silly.
DR.
BENNETT But Juliet's not
silly?
PAULINE
(Emphatic) No!
DR.
BENNETT Yvonne . . .
there's nothing wrong with having a close friend, but sometimes things can get . . . too
friendly. Such associations can lead to trouble. It isn't good to have just one
friend . . . my wife and I have several friend and we enjoy seeing them on a regular
basis, and it's all perfectly healthy. Perhaps you
could think about spending time with . . . boys
Dr.
Bennett stops in mid-sentence, a look of surprise face. He looks down at his chest . . .
A red bloodstain is slowly spreading across his shirt. Dr.
Bennett twitches slightly as the blade of a sword work its way out of his chest!
Paulines face lights up as . . .
Diello rises up behind Dr. Bennett.
DIELLO
(Orson Welles voice) Bloody fool!
CRASH CUT TO:
INT. DR. BENNETT'S WAITING ROOM DAY
The surgery door opens and Pauline steps out, looking elated.
Honora looks up from her chair.
Dr. Bennett appears in the doorway behind Pauline. He casts a wary glance in her
direction.
DR.
BENNETT Mrs. Rieper . . .
Honora
bustles in, and Dr. Bennett closes the door. Pauline sits down, folds her arms and stares
blankly at a COUPLE OF SICK PATIENTS.
INT.
DR. BENNETT'S SURGERY DAY
CLOSE-UP . . . Dr. Bennett's mouth.
DR.
BENNETT Homosexuality . .
.
Honora looks
horrified.
DR.
BENNETT I agree, Mrs.
Rieper, it's not a pleasant word. But let us not panic unduly. This condition is often a
passing phase with girls of Yvonne's age.
HONORA But
she's always been such a normal, happy child.
DR.
BENNETT It can strike at
any time, and adolescent are particularly vulnerable.
HONORA But
what about the vomiting? She's lost a lot of weight . . .
Dr.
Bennett shrugs.
DR.
BENNETT Physically, I can
find nothing wrong. Ive checked for TB and she's clear. I can only attribute her
weight loss to her mental disorder.
HONORA
(Shocked) Oh . . .
DR.
BENNETT Look, Mrs. Rieper
. . . try not to worry too much. Yvonne's young and strong, and she's got a loving family
behind her. Chances are she'll grow out of it. If not . . . well, medical science is
progressing in leaps and bounds. There could be a breakthrough at any time!
INT.
RIEPERS' HOUSE/HALLWAY NIGHT
SLOW TRACKING . . . down the hallway corridor. As the CAMERA
passes doorways, we see the Riepers' family routine . . . Honora in the kitchen. Herbert
wanders by and goes through the adjoining door into the lounge. He sits down and
opens the paper. Wendy is attempting to t the fire. The family are chatting to each
other, but we do not hear their conversation because . . .
. . . we are listening to Pauline's V.O.
PAULINE
(Diary V.O.) Mother woke me this morning and started lecturing me before I was properly
awake, which I thought was somewhat unfair. She has brought up the worst possible
threat now. She said that if my health did not prove I could never see the Hulmes again.
The thought is too dreadful. Life would be unbearable
without Deborah . . .
CAMERA
CRANES UP . . . through the ceiling and into . . .
INT.
RIEPERS' HOUSE/PAULINE'S BEDROOM NIGHT
. . . Pauline's bedroom. The room is filled with the sad
strains of "E Lucevan le Stelle," an aria from Puccini's Tosca that is booming
out from Pauline's portable record player.
CAMERA CRANES UP past the foot of the bed to reveal Pauline
lying on her back, looking very morose.
TRACK IN TO her intense face as her V.O. continues . . .
PAULINE
(Diary V.O.) l wish I could die. This is not an idle or temporary impulse. I have decided
over the last two or three weeks that it would be the best thing that could happen
together, and the thought of death is not fearsome.
CUT
TO:
INT. RIEPERS' HOUSE/LOUNGE CHRISTMAS DAY 1953
CLOSE-UP . . . a Christmas present is torn open . . .
followed by several more, in quick cuts. Typical 1953 presents.
Honora, Herbert, Wendy and Pauline are sitting on the floor,
amidst presents and discarded wrapping paper. Grandma Parker is sitting in a chair.
Herbert waves a pair of new socks around. The family
laughing and talking. Pauline is not participating. She is leaning back, looking morose.
Honora looks at her
with concern.
HONORA
(Concerned) Is it hurting, dear?
Pauline
looks blank.
HONORA Your
leg . . . have you got pain?
Pauline
shakes her head. She rips open a present . . . a new diary.
INT.
RIEPERS' HOUSE/PAULINE'S BEDROOM NIGHT
CLOSE-UP of the Jan. 1st page. Pauline's pen starts to write
. . .
PAULINE
(Diary V.O.) My New Year's resolution is a far more selfish one than last year, so there
is more probability of my keeping it. It is to make my motto: "Eat, drink and be
merry, for tomorrow you may be dead."
Pauline looks up from her diary as the CAMERA RUSHES IN
toward her face.
I
NT. SCHOOL CORRIDOR MORNING
TRACKING with Pauline as she walks down the corridor past
classmates, head down, shoulders hunched.
EXT.
CRANMER SQUARE/SCHOOL DAY
A PHOTOGRAPHER is peering through his camera in Cranmer
Square.
The 33 girls of 4A are posing for their class photo. They
are giggling and joking. Pauline is perched in the top right corner and is sullen.
PHOTOGRAPHER
Ready . . . smile!
Pauline
bows her bead.
CLICK!
CUT TO:THE BLACK & WHITE PHOTOGRAPH. PULL OUT from
Pauline's bowed head to the full shot of the smiling class.
CUT
TO:
INT. RIEPERS' HOUSE/PAULINE'S BEDROOM DAY
Pauline strolls into her bedroom and drops her school bag
down. She plucks out an opera record to play on her radiogram.
Honora walks in, waving a letter.
HONORA This
arrived today, Yvonne . . .
Pauline
looks at her mother with distaste.
PAULINE My
name is Gina!
HONORA It's
a letter from the school . . . from Miss Stewart.
PAULINE What
does old Stew want?
HONORA She
says the standard of your work is slipping. At this rate she doesn't think you'll get
School Certificate.
PAULINE Who
cares!
HONORA I
care . . . your father cares . . . we want you to have a good education.
PAULINE I'm
educating myself!
HONORA
You're failing English . . . you used to be top of the class
PAULINE
I'm doing my own
writing!
Honora snatches
up an exercise book from a large pile.
HONORA
These stories are not going to get you School Certificate! You don't seriously think
anyone's going to publish them?
PAULINE
(Scornful) What do you know? You wouldn't know the first thing about writing. You're the
most ignorant person I've ever met!
Honora
is very angry.
HONORA
You're rude . . . rude and insolent! I don't see why I should keep a horrid child like you
at school a minute longer.
PAULINE
(Shouting) I don't
wanna be in bloody school!
HONORA
(Shouting) All right! You go out there and get a job and you damn well pay your own way!
Honora
storms out of the room and slams the door.
INT.
DIGBY'S TYPING SCHOOL DAY
OPEN ON . . . SIGN ON DOOR:
"Digby's Commercial College"
Pauline sits amongst rows of young ladies, typing. MISS
DIGBY patrols the aisles. Pauline looks bored and morose as she stabs dejectedly at the
keys.
INT.
ILAM BATHROOM NIGHT
Pauline and Juliet are lying in a steaming bath
facing each other from opposite ends. Pauline is very upset.
PAULINE I
think I'm going crazy.
JULIET No,
you're not, Ginait's everybody else who is bonkers!
PAULINE
Let's go overseas . . .
JULIET You
mean travel by ourselves?
Pauline
nods.
JULIET
Where shall we go? Not the Bahamas; it's bloody awful!
A few moments of
silence as the girls contemplate.
JULIET
(Excited) Of course! It's so obvious!
CUT
TO:
INT. ILAM/CORRIDOR NIGHT
Henry is walking down the corridor in his dressing gown,
carrying a glass of milk.
He pauses as he overhears giggles and splashes coming from
the bathroom. He puts his ear to the door . . .
JULIET
(O.S.) I know . . . I'll lean back and put my hair on my shouldersthen I'll look
just like Veronica Lake!
Sound of a
camera clicking.
PAULINE
(O.S.) Stay still or they'll be blurry . . .
JULIET
(O.S.) Hurry up! I'm freezing!
PAULINE
(O.S.) Just a couple more . . .
JULIET
(O.S.) I know, I'll lean forward and show more cleavage!
Henry
frowns. Sounds of a camera clicking.
INT.
ILAM/HILDA'S BEDROOM NIGHT
Hilda is preparing for bed.
Henry opens the door and enters.
HENRY
Those girls are up to something in the bathroom! I think they're taking photographs of
each other!
HILDA
Just leave them
alone, Henry.
HENRY I'm
prepared to tolerate that Rieper girl's presence but I will not stand for any . . .
hanky-panky.
HILDA I'm
sure it's all perfectly innocent.
INT.
ILAM/LOUNGE NIGHT
TRACKING ALONG . . . a mantelpiece of knickknacks. Juliet's
hand grabs three pieces.
Pauline and Juliet hurry around the darkened lounge, lifting
various bits of silver and china. They are dressed their nighties.
PAULINE
(Whispers) I'm sure they'll notice things missing.
JULIET
(Whispers) They'll blame the bloody housekeeper. She nicks stuff all the times!
INT.
ILAM/JULIET'S BEDROOM NIGHT
Pauline and Juliet are lying in Juliet's bed, their booty
spread around them.
JULIET This
lot's got to be worth 50 quid!
PAULINE I
can try my father's safe. I'm sure I can get the keys to his office.
JULIET
That's great! We'll have the fare in no time!
RIEPERS'
HOUSE DAWN
Sunrise over 31 Gloucester St.
INT.
RIEPERS' HOUSE/KITCHEN/DINING ROOM/LAUNDRY MORNING
SERIES OF VERY QUICK SHOTS . . .
Pauline doing housework: sweeping floors, ironing, hanging
washing, folding, dusting, cleaning bath . . .
PAULINE
(Diary V.O.) I rose at 5:30 this morning and did housework before 8 o'clock, including
taking Wendy her breakfast in bed. I feel very pleased with myself on the whole and
also the future.
Pauline
spins around and stares straight into the CAMERA.
PAULINE
(Diary V.O.) We
are so brilliantly clever.
ILAM
GROUNDS DAY
WHACK! A tennis ball is hit by a racquet.
Hilda and Walter Perry are playing mixed doubles on the
court laid out in the Ilam grounds, behind the house.
SUPER: "Two Weeks Later"
Its a sunny, festive afternoon. Picnic blankets are
laid out around the tennis court. Tables of food and colourful awnings have been erected
around the lawn.
Henry is chatting to some friends beside the tennis courts.
Thirty cars are filling the drive in front of the house.
People are wandering around, admiring the gardens.
Dr. Bennett and his wife, PEARL, are strolling along the
edge of the river. SUDDENLY . . .
SPLASH!!! . . . Dr. Bennett and Pearl are drenched in a
shower of water as a large rock lands in the river beside them.
CUT
TO:
Pauline and Juliet in the bushes across the river from the
Bennetts. Juliet is peering through the foliage. Pauline has just clearly hurled the rock.
JULIET
Direct hit! Gave his trousers a good soaking! Everyone will think he's peed himself!
They
dissolve into giggles.
CUT
BACK:
To the Bennetts . . . and some other GUESTS as they hear the
sound of giggling and rustling leaves.
CUT
TO:
Pauline and Juliet strolling through the thick undergrowth,
eating bunches of grapes and drinking straight from a sherry decanter.
JULIET
(Mouth full) Bloody Bill's sniffing around Mummy something chronic.
They
pause by a tree, with a clear view across the river to Hilda and Walter playing tennis.
PAULINE I
thought he was supposed to be terribly ill.
JULIET
(Sarcastic) That was what we were led to believe . . .
INSERT
SCENE:
INT. ILAM/DINING ROOM NIGHT
Henry, Hilda, Jonathon and Juliet are having an evening
meal.
HILDA
Henry . . . I'm terribly worried about Bill Perry. He's just had a spell in hospital and
has nowhere to convalesce.
HENRY No?
HILDA I've
offered him the flat . . . he really shouldn't be left by himself . . . not in his
condition.
Juliet
is eating, quietly watching her parents.
JULIET
(V.O.) I was looking forward to the ambulance arriving . . .
CUT
TO:
EXT. ILAM DRIVEWAY DAY
An ambulance is parked outside the house, light flashing.
Walter Perry is lifted out on a stretcher, looking terribly
ill . . . croaking and gasping.
JULIET
(V.O.) There's
something desperately exciting about bodies on stretchers . . . (Regretfully) But it
wasn't like that at all!
CUT
TO:
SAME SCENE BUT:
No ambulance or stretchers . . . Walter hops out of a cab,
looking fit and healthy. Hilda steps out of the house, followed by Juliet.
HILDA
Bill! I hope the trip didn't tire you.
WALTER Not
in the least! (To Juliet) Hello! (Looks at house) What a splendid place!
INT.
ILAM/WALTER'S FLAT DAY
Hilda and Walter stroll into the flat.
HILDA It
used to be the servants' quarters, but it's very comfortable.
WALTER Oh,
corker!
Hilda
and Walter wander into another room . . . Henry struggles through the front door carrying
Walters cases.
CUT
TO: EXT. ILAM GROUNDS DAY (SCENE CONTINUES)
Pauline and Juliet are finishing their grapes as they watch
Hilda and Walter on the tennis court.
JULIET Poor
Mother was completely taken in.
PAULINE Do
you think Bloody Bill's trying to get into her draws?
JULIET Too
right . . . but he doesn't have a show! Nobody gets into Mother's draws except Daddy!
They watch as
Henry scampers across the lawn after the tennis ball.
PAULINE
(Quietly) Poor Father . . .
JULIET
(Comforting) Don't worry, Gina! Mummy and Daddy love each other.
CUT
TO:
INT. RIEPERS' MOUSE/BATHROOM NIGHT
Pauline is lying in the bath, writing in her exercise book
She turns the page and calls out.
PAULINE Just
washing my hair now, Laurie. Won't be a moment.
INT.
RIEPERS' HOUSE/CORRIDOR NIGHT
Laurie is seated outside the bathroom door. He is dressed in
a bathrobe, and has a new change of clothes on his lap.
Honora is walking past with an armful of washing.
HONORA Is
she still in there?
INT.
RIEPERS HOUSE/BATHROOM NIGHT
There is knocking at the door . . .
HONORA (O.S.) Pauline . . .
Come on, you've had enough time.
Pauline
sighs.
INT.
RIEPERS' HOUSE/CORRIDOR NIGHT
Honora knocks harder.
PAULINE
(O.S.) (Facetious)
Yes, yes, yes!
HONORA
(Angry) You open
up this door right now!
Sound
of Pauline getting out of the bathwater.
PAULINE
(O.S.) (Angry) I'm bloody dressing as fast as I can, for God's sake!
HONORA
(Angry) Open this door!
The
door opens and Pauline strolls out, a towel around her. Honora starts berating her.
However, we only hear Pauline's V.O. as Honora follows her down the corridor.
PAULINE
(Diary V.O.) Mother
gave me a fearful along the usual strain.
Pauline
pauses by her bedroom door as Honora continues talking to her.
CLOSE
UP . . . Honora talking to Pauline, soundlessly.
PAULINE (Diary V.O.) I rang Deborah
immediately as I had to tell someone sympathetic how I loathed Mother.
EXT.
ILAM HOUSE NIGHT
Ilam at night. All the lights are off.
INT.
ILAM/CORRIDOR NIGHT
CREEPING POV . . . down the CORRIDOR.
TILT UP to reveal . . . Juliet, listening intently to coming
from behind a bedroom door.
SUPER: "23rd April 1954"
Juliet's hand reaches for the door handle.
INT.
ILAM/WALTER PERRY'S BEDROOM NIGHT
The bedroom door flies open . . . Juliet quickly flicks on
the light.
ZIP PAN AROUND TO . . . Hilda and Walter sitting bolt
upright in bed! A tray of tea sits on a bedside table.
JULIET The
balloon has gone up!
HILDA What
on Earth are you talking about? Mr. Perry is ill . . . I've brought him a cup of tea.
WALTER
Would you like one, Juliet?
JULIET
Don't try and fob me off! It's going to cost you a hundred pounds, or I'm blabbing to
Daddy!
Hilda
looks at Walter, appalled. She looks Juliet square in the eye.
HILDA Mr.
Perry and I are in love, Juliet.
Juliet s eyes
widen at this unexpected confession.
WALTER
Hilda!
HILDA Your
father knows about us. Until other arrangements can be made, we've decided to live as a
threesome.
Juliet
looks confused. Tears spring to her eyes.
JULIET
(Angry) I don't care what you do! Pauline and I are going to Hollywood. They're
desperately keen to sign us up. We're going to be film stars!
HILDA What
are you talking about?
JULIET
(Yelling) It's all arranged . . . we don't need your bloody hundred pounds anyway, so
stick it up your bottom!
Juliet
turns and leaves, slamming the door.
Hilda puts her head in her hands.
CUT
TO:
EXT. STREET MORNING
TRACKING BACK . . . Pauline is furiously cycling through
rain and wind.
PAULINE
(Diary V.O.) Deborah told me the stupendous news! I'm going out to Ilam as we have much to
talk over.
INT.
ILAM/HALLWAY MORNING
Pauline pushes the front door open and steps inside. All is
quiet in the house.
Rain is pelting down outside.
PAULINE
(Calling out) Hello?
No
reply . . . Pauline goes up the stairs.
INT.
ILAM/JULIET'S BEDROOM MORNING
Pauline enters the bedroom . . . Juliet is lying in bed,
looking pale and upset.
PAULINE
(Diary V.O.) Deborah was still in bed when I arrived.
Pauline
rushes over to the bed. Juliet grabs her and hugs tightly.
WHIZ PAN AROUND and FAST TRACK IN TO . . . Henry standing in
the doorway.
PAULINE
(Diary V.O.) Dr. Hulme asked us to come into the lounge to have a talk with him.
INT.
ILAM/HALLWAY MORNING
Juliet is wrapped in a blanket. Pauline has an arm around her shoulders as they walk
toward the lounge.
Hilda walks past and Juliet glares hatefully at her.
INT.
ILAM/LOUNGE MORNING
TRACK IN . . . to a CLOSE-UP of Henry, sitting in a big
leather chair.
HENRY Your
mother and I are getting divorced.
Juliet
is in shock. She clutches Paulines hand.
MOVE IN . . . to CLOSE-UP of Pauline.
PAULINE
(Diary V.O.) The shock is too great to have penetrated my mind. It is so incredible. Poor
Father. Dr. Hulme was absolutely kind and understanding . . .
Pauline's
V.O. continues over . . .
A conversation between Henry and the two girls. The large
lounge at Ilam is dark and cold. The mood is bleak.
PAULINE
(Diary V.O.) He said we must tell him everything about our going to America. He was both
hope-giving and depressing. We talked for a long time and Deborah and I were near
tears by the time it was over.
INT.
ILAM/HALLWAY MORN I NG
Pauline's V.O. continues over . . .
Henry ushers Pauline and Juliet out of the lounge. He walks
Pauline toward the front door.
PAULINE
(Diary V.O.) What is to be the future now? We may all be going to Italy and dozens of
other places, or not all. We none of us know where we are and a
good deal depends on chance.
EXT.
ILAM/DRIVEWAY MORNING
Pauline's V.O. continues over . . .
Pauline rides her bicycle down the drive in the rain.
Dr. Hulme is standing at the door, watching her go . . . a
stoney expression on his face.
PAULINE
(Diary V.O.) Dr. Hulme is the noblest and most wonderful person I have ever known of.
Henry shuts the
door.
INT. RIEPERS'
HOUSE/PAULINE'S BEDROOM NIGHT
Pauline's V.O. continues over . . .
Pauline is lying in bed, writing in her diary.
PAULINE
(Diary V.O.) One thing Deborah and I are sticking to: through everything, we sink or swim
together.
INT.
ILAM/JULIET'S BEDROOM NIGHT
Juliet is propped up in bed, looking sick and pale. Hilda is
sitting by the side of the bed. Henry stands at the foot of the bed, hands behind his
back.
HENRY Your
mother and I have talked things over and we've made some decisions . . . I am resigning
from the university and will be taking up a position back in England.
Juliet
looks horrified.
JULIET
(Vehemently) But Daddy, you can't just leave me with Mother!
Hilda
looks hurt.
HILDA We
thought it best that you accompany your father. . .
JULIET
(Worried) Is Gina coming, too?
HENRY
(Annoyed) Of course not!
JULIET
(Angry) I'm not going to England without Gina!
Hilda
and Henry exchange an awkward glance.
HILDA
You're not going to England, darling.
Juliet looks confused.
HENRY I'm
leaving you in South Africa with Auntie Ina.
Juliet
starts to tremble.
HILDA That
chest of yours isn't getting any better. The warmer climate is just what you need . . .
HENRY
For the good of
your health.
Juliet
opens her mouth and screams.
CRASH
CUT TO:
INT. RIEPERS' HOUSE/PAULINE'S BEDROOM NIGHT
Pauline is crouched on her bed, hugging her knees. She
stares intensely ahead.
PAULINE
(Intense) The Hulmes will look after me. They want me to live with them!
HONORA
Don't be so ridiculous. You're our daughter, you belong here with us.
PAULINE I
belong with Deborah! We're going to South Africa!
HONORA
You're not going anywhere. You're 15 years old!!
PAULINE
(Intense) You have to let me go!
Honora
stands and walks toward the door.
HONORA We'll talk about this when you've
calmed down.
Honora pauses at the door. Pauline is slowly rocking on the
bed, staring at the wall.
CLOSE-UP . . . Pauline's face as we hear her diary
V.O.:
PAULINE
(Diary V.O.) I felt thoroughly depressed and even quite seriously considered committing
suicide. Life seems so much not worth the living, death such an easy way out.
HONORA
Love, you can still write to each other.
Honora softly touches Paulines cheek. Pauline winces,
averting her face.
MOVE IN . . . to EXTREME CLOSE-UP of Pauline's eyes.
PAULINE
(Diary V.O.) Anger against Mother boiled up inside me as it is she who is one of the main
obstacle in my path. Suddenly a means of ridding myself of this
obstacle occurred to me. If she were to die . . .
CUT
TO:
INT. UNIVERSITY HALL DAY
CLOSE-UP . . . a cloth is whipped away revealing a portrait
of Henry painted by Rudi Gopez.
Henry is on stage for the unveiling. He shakes hands with
PROFESSOR 2. Hilda is sitting amongst various dignitaries on the stage.
PROFESSOR 1 is at the podium.
PROFESSOR
1 I can not begin
to attempt to measure the inestimable value of Dr. Hulme's contributions to Canterbury
College, both social and official. We wish both him and Mrs. Hulme all the best for
the future.
On sound of
large audience clapping:
CUT
TO:
INT. RIEPERS' HOUSE/HALLWAY DAY
CLOSE ON . . . black & white newspaper photo of large
audience in the hall.
PULL OUT . . . to reveal newspaper story entitled
"Canterbury College Bids Farewell to Rector Today."
PULL OUT FURTHER . . . as the CAMERA rises vertically above
Pauline. She is slumped on the hall floor, holding the phone to her ear. The newspaper
lies open beside her.
JULIET
(O.S.) (Through phone) Everything's going to be okay, Gina. Mr. Perry's promised to give
me 50 pounds for my horse . . .
INT.
ILAM/HALLWAY DAY
Juliet is in the Ilam hallway, talking into the phone . . .
Walter and Hilda are visible in the lounge beyond.
JULIET (Hushed) That's a hundred and
twenty! It's another 30 pounds and we've got the fare!
INTERCUT WITH:
INT. RIEPERS' HOUSE/HALLWAY DAY
Pauline looks very upset.
PAULINE (Upset) It's no bloody good . .
. I went to the passport office today. They won't give me one till I'm 20.
CUT between Pauline and Juliet . . .
JULIET But that's not true! I've got
one.
PAULINE
(Choked up) I need my sodding parents' consent.
Tears well in Juliets eyes.
JULIET (Sobbing) Dont cry, Gina .
. . Were not going to be separated. They can't make us . . . they can't!
Hilda quietly looms up behind Juliet. She gently takes the
phone out of Juliets hand and puts it back on the receiver. Juliet struggles in
Hildas arms, pushing her mother away, screaming.
Pauline stands holding the dead phone.
HONORA
Yvonne.
Pauline turns and faces her mother.
HONORA Please don't be like this, love.
Pauline gives Honora a cursory glance and walks past her, up
the stairs. Honora looks after her, a hurt expression on her face.
PAULINE
(Diary V.O.) I did not tell Deborah of my plans for removing Mother. I have made no
decision yet as the last fate I wish to meet is one in a borstal. I am trying to
think of some way.
CUT
TO:
EXT. RIEPERS' BACK GARDEN DAY
THWACK! . . . An ax chops into a log, splitting it in two.
Herbert is chopping firewood in the back garden. Honora
approaches him.
HONORA I've just had Hilda Hulme on the
phone.
HERBERT What
now?
HONORA She
says Juliet's in a terrible state . . .
CUT
TO
INT. RIEPERS' HOUSE/LOUNGE DAY
Honora and Herbert are sitting with Hilda in the lounge.
HILDA She's uncontrollable. I've told
her that Pauline is not going to South Africa, but she refuses to accept it.
Herbert and Honora exchange a glance.
HILDA I expect you've
heard the same from your own daughter.
Honora shakes her head.
HONORA (Upset) Yvonne hasn't spoken to
me for nearly two weeks.
HILDA Yes
. . . well, it hasn't been an easy time for any of us, Mrs. Rieper.
HERBERT
She's cut us out of her life . . . it's been causing her mother and I a lot of worry.
HILDA What
I'm suggesting is that we let the girls spend these last three weeks together. We'd like
Pauline to come and stay with Juliet, until she leaves.
HERBERT Is
that a good idea?
Herbert looks at Honora . . . tears are running down her
cheeks. He stands and ushers Hilda toward the door.
HERBERT Why don't I telephone you
tonight, Mrs. Hulme?
HILDA Yes,
of course.
Herbert accompanies Hilda into the hallway.
Honora breaks down into heavy sobs.
CUT
TO:
INT. ILAM/HALLWAY DAY
The front door swings open. Pauline is standing on the step,
framed by the doorway, suitcase in hand.
SUPER: "11th June 1954"
Mario Lanza's "The Loveliest Night of the Year"
begins and continues over the next few scenes.
Pauline walks into the empty hallway . . . SUDDENLY!
Juliet sweeps down the stairs in a rush of sparkling light.
She is dressed in her mother's glittering ballgown.
Juliet takes Pauline's hand, and together they sweep into .
. .
INT.
ILAM/LOUNGE DAY . . .
. . the LOUNGE.
Pauline's drab clothes transform into a ballgown as she
passes through the doorway.
The song soars as they waltz into the middle of the ballroom
. . . Pauline spins . . . in a blur she sees decorations and faces all around.
Pauline gasps as Diello takes her by the waist and waltzes
around the room. Characters from Borovnia fill the room. Juliet dances with Charles.
A man in a dark suit turns around . . . MARIO! He launches
into the second verse!
Pauline laughs happily as she is swept around and around.
PAULINE
(Diary V.O.) We realised why Deborah and I have such extraordinary telepathy and why
people treat us and look at us the way they do. It is because we are MAD. We are
both stark raving MAD!
They
are no longer in the lounge at some point the waltz has dissolved into . . .
EXT.
BOROVNIA CASTLE COURTYARD NIGHT
. . . the courtyard in Borovnia Castle.
The crowds continue dancing to "The Loveliest Night of
the Year."
A doorway in the courtyard . . . Henry Hulme is lurking in
the shadows, peering out. He is dressed like a jester with cap and bells. The CAMERA
PUSHES IN . . . to a distorted FISHEYE SHOT of Henry.
Pauline's V.O. continues, building in intensity . . .
PAULINE (Diary V.O.) Dr.
Hulme is MAD, as MAD as a March hare!
At the conclusion of the song . . . TWO BURLY BOROVNIAN
EXECUTIONERS swing their axes down, chopping a couple of ropes. A huge banner unfurls down
the side of the castle tower. In embroidered letters three stories tall is the word
. . .
MAD!
INT.
CINEMA NIGHT
BANG! . . . a gunshot! CLOSE ON . . . Pauline's face
flinching at the sound, a flash of light.
BANG! . . . CLOSE ON . . . Juliet flinching.
Black & white image of Orson Welles shooting a pistol
from The Third Man.
PAULINE (Diary V.O.) It was the first
time I had ever seen It. Deborah had always told me how hideous he was!
Pauline and Juliet are sitting in the cinema, absorbed in
the film.
PAULINE (Diary V.O.) It is appalling. He
is dreadful. I have never in my life seen anything in the same category of hideousness . .
. but I adore him!
CUT
TO:
EXT. CHRISTCHURCH STREETS NIGHT
Pauline and Juliet run along dark, damp, atmospheric
streets.
Orson Welles steps out of the shadowy alley into the light.
He leers at them. The girls scream! They turn to run, but Orson looms out of another
alley.
Pauline and Juliet squeal and run about. PASSERSBY observe
their antics with some alarm.
INT.
ILAM/HALLWAY NIGHT
The front door bursts open. Pauline and Juliet run in, still
in a state of high excitement.
They charge up the stairs.
INT.
ILAM/JULIET'S BEDROOM NIGHT
Pauline and Juliet tumble into the bedroom, only to find
Orson lurking behind the door! They scream and flee along the balcony only to be greeted
by Orson at the other end! They run back into the bedroom and collapse onto the bed,
screaming and giggling.
PUSH IN . . . to Pauline's exalted face.
PAULINE (Diary V.O.) We talked for some
time about It, getting ourselves more and more excited.
A
huge shadow of a figure, dressed in hat and cape, rises on the bedroom wall behind the
girls, threatening to engulf them.
MUSIC SWELLS UP . . .
Pauline comes down on top of Juliet, kissing her on the lips
. . . Pauline's hands slipping Juliet's blouse off her shoulders.
PAULINE (Diary
V.O.) We enacted how each saint would make love in bed.
Juliet heaves on the bed, Pauline leans over and . . .
MORPHS into Orson Welles!
CUT
TO INT. BOROVNIA CASTLE NIGHT
Diello thrusts and grunts, as if making love. He steps back
holding a bloody sword. A slain peasant drops at his feet
CLOSE-UP . . . Pauline moaning and thrashing.
CLOSE-UP . . . Diello swinging from side to side as he hacks
a peasant to pieces.
INTERCUT WITH SHOTS of Pauline and Juliet intertwined with
Orson and Diello. Pauline and Juliet sometimes change into their Plasticine counterparts,
Deborah and Gina.
PAULINE
(Diary V.O.) We spent a hectic night going through the saints. It was wonderful! Heavenly!
Beautiful! And ours! We felt satisfied indeed. We have now learned the peace of the
thing called Bliss, the joy of the thing called Sin.
INT.
ILAM/BATHROOM NIGHT
BATHWATER
Pauline and Juliet are soaking in opposite ends of a
steaming bathtub.
A few moments silence. Juliet looks blankly at Pauline. A
tear rolls down her cheek.
PAULINE I'm coming with you.
JULIET Yes
. . .
PAULINE I
know what to do about mother.
Juliets eyes narrow.
PAULINE We don't want to go to too much
trouble . . . some sort of accident.
A moment of silence.
PAULINE People die every day.
CLOSE ON . . . Juliet's face.
Silence.
SMASH
CUT TO:
EXT. ILAM/GROUNDS DAY
CLOSE ON . . . Pauline and Juliet clasping hands.
PULL OUT . . . they are standing in the beautiful sunny
gardens, holding hands. Both girls are dressed in pretty summer frocks.
PAULINE (Diary V.O.) Our main idea for
the day was to moider mother.
REVERSE ANGLE . . . Pauline and Juliet walk toward the
house. Unicorns are grazing in the Ilam garden. Fairies dance in the air. Large
dragonflies hover around the girls.
PAULINE
(Diary V.O.) This notion is not a new one but this time it is a definite plan which we
intend to carry out. We have worked it out carefully and are both thrilled by the
idea. Naturally we feel a trifle nervous, but the pleasure of anticipation is great.
EXT.
ILAM GROUNDS NIGHT
CLOSE-UP . . . James Masons photo lands in a roaring
fire and is immediately consumed by the flames. Photos of Mel Ferrer, Michael Rennie and
Orson Welles follow.
Pauline and Juliet are standing by a roaring fire in the
Ilam grounds. They throw Mario records onto the flames. The black vinyl curls and melts.
Their Plasticine figures are next. Globs of melted Plasticine drip amidst the burning
debris.
It is clearly a strange, ritualistic burning. Pauline and
Juliet watch the fire, enraptured.
JULIET Only the best people fight
against all obstacles . . .
Juliet squeezes Paulines hand.
JULIET . . . in pursuit of happiness.
WIDE SHOT of the fire.
PAULINE (Diary V.O.) We both spent last
night having a simply wonderful time in every possible way.
FADE TO BLACK
INT.
RIEPERS' CAR/EXT. STREETS DAY
FADE IN . . . CLOSE-UP of Pauline's face. SLOWLY PULL OUT .
. . to reveal Honora and Herbert sitting in the front of the car. They are driving home.
PAULINE
(Diary V.O.) I was picked up at 2:00 P.M. I have been very sweet and good. I have worked
out a little more of our plan. Peculiarly enough I have no qualms of conscience.
INT.
RIEPERS' HOUSE DAY
Honora is bustling about the house, working. Every time she
bends down, or leans over, Pauline is revealed behind her. She is helping, but the mood is
one of a hunter closing in on its prey.
PAULINE
(Diary V.O.) I
rose late and helped Mother vigorously this morning. Deborah rang and we decided to use a
rock in a stocking rather than a sandbag. We discussed the moider fully. I feel very
keyed up as though I were planning a surprise party. Mother has fallen in with everything
beautifully and the happy event is to take place tomorrow afternoon. So next time I
write in this diary Mother will be dead. How oddyet how pleasing.
DISSOLVE TO:
INT. ILAM/JULIET'S BALCONY DAY
Juliet is singing a haunting aria. Tears are welling in her eyes. The aria continues over
. . .
EXT.
OCEANLINER'S DECK DAY BLACK & WHITE . . .
Pauline and Juliet are happily bounding along the decks,
pushing past OTHER PASSENGERS. They are wearing holiday clothes.
We see a repeat of the same OCEANLINER SHOTS that opened the
film.
They run toward a MAN and a WOMAN.
JULIET Mummy!
PAULINE
Mummy!
CAMERA MOVES toward . . . Henry and Hilda as they turn and happily greet the two girls.
Hilda kisses Juliet, then Pauline on the cheek. Henry and Hilda hug the girls and
stand together as a tight group.
MOVE IN ON . . . Pauline, looking radiantly happy. Pauline hugs Hilda tightly. Tears well
in her eyes. She gazes at Juliet. Slowly their faces come together in profile, filling the
screen. They kiss.
CUT
TO:
INT. RIEPERS' HOUSE/PAULINE'S BEDROOM MORNING
Pauline opens her eyes and sits up in bed.
INT.
ILAM/JULIET'S BEDROOM MORNING
Juliet opens her eyes and sits up in bed.
INT.
RIEPERS' HOUSE/PAULINE'S BEDROOM MORNING
CLOSE-UP . . . Pauline's bedside clock. . . 6:37 A.M.
Pauline is sitting in bed, writing in her diary. CLOSE-UP .
. . Pauline's pen writing:
"The . . . Day . . . of . . . the . . . Happy . . .
Event."
PAULINE (Diary V.O..) I am writing a
little of this up on the morning before the death. I felt very excited and the
night-before-Christmas-ish last night. I am about to rise.
CUT
TO:
EXT. ILAM/GROUNDS MORNING
LOW ANGLE . . . bricks, piled up beside the garage.
Juliet takes one . . . weighs it in her hands, then takes a
smaller half-brick.
HENRY (O.S.) (Calling) Juliet!
Juliet
quickly wraps the brick in newspaper and puts it in her satchel.
CUT TO:
Henry standing by the car.
HENRY Thought I'd lost you.
Juliet
hurries from behind the garage. Hilda appears at the front door. She makes eye contact
with Juliet and turns away.
Juliet hesitates and then rushes over to her mother.
JULIET
Mummy!
HILDA
You've got roses
in your cheeks . . . I haven't seen that in such a long time. Have a lovely time, darling.
JULIET I
will . . . I'm so looking forward to it!
Juliet gives Hilda a hug. Hilda smiles at her daughter.
HILDA Bye.
Juliet beams, turns and skips toward the car. Henry arches
an eyebrow and shrugs at Hilda. He starts the car up.
CLOSE-UP . . . Henry's wristwatch . . . 10:33.
EXT.
STREET MORNING
TRACKING with Henry's black car as it cruises along.
INT.
HULMES' CAR MORNING
Juliet is sitting next to Henry . . . sunlight flickers on
her face. She sits back smiling, eyes shut, looking radiantly happy.
EXT.
STREET MORNING
The black car glides to a halt outside some shops. Juliet
hops out.
JULIET Bye,
Daddy . . . see you tonight.
CUT TO:
INT. RIEPERS' HOUSE/KITCHEN MORNING
Honora is mixing up some pikelet batter. Pauline is
buttering bread . . . a great pile.
HONORA Whoa
. . . theres enough there to feed an army!
The front door opens and Juliet comes into the kitchen.
JULIET Hello!
HONORA
Hello, Juliet.
Juliet take off her jacket.
HONORA Ohwhat a nice outfit!
JULIET
Thank you. I bought it especially, Mrs. Rieper.
MOVE
IN . . . to clock . . . 11:05.
Juliet puts her bags on the table. Her satchel drops with a
clunk. Pauline's eyes flick to the satchel, then up to Juliet.
Honora is bending down, pulling a tray of sausage rolls into
the oven. Both girls look at Honora silently.
Honora turns around and Juliet presents her with a brown
paper bag.
JULIET
Fruit.
HONORA Oh!
I'll pop them in a bowl.
Honora
picks up the satchel. Pauline and Juliet tense up . . . as Honora puts the satchel on a
chair.
PAULINE Let's go upstairs, Deborah. I
wrote the last 10 pages of my opera last night.
JULIET
(Vacantly) All right, then.
Juliet follows Pauline out of the room. Pauline has to nip back and grab the satchel.
INT. RIEPERS' HOUSE/PAULINE'S BEDROOM DAY
CLOSE-UP . . . The newspaper is unwrapped to reveal the
half-brick.
Pauline is sitting on her bed looking at the brick.
Juliet stands beside her. She tugs at her collar.
JULIET Do you feel sweaty? I feel sweaty.
Pauline opens a draw and pulls out a stocking.
PAULINE It's a three-act story with a
tragic end.
JULIET Your mother is a rather miserable
woman . . . isn't she?
PAULINE I thought for hours about
whether Carmelita should accept Bernard's marriage proposal . . .
JULIET I think she knows what's going to
happen . . . she doesn't appear to bear us any grudge!
Pauline puts the brick in the stocking and ties a knot in
the foot.
PAULINE . . . but in the end I decided
against it. I thought it would spoil all their fun.
Pauline puts the brick in her shoulder bag.
JULIET (Bitterly) Affairs are much more
exciting than marriages . . . as Mummy can testify!
They both laugh.
CUT TO:
INT. RIEPERS' HOUSE/DINING ROOM DAY
Clock on wall . . . 12:16.
Pauline and Juliet are laughing loudly.
PULL OUT . . . across the table to reveal Honora, Herbert, Wendy, Pauline and Juliet in
the middle of lunch.
PAULINE It's true! He was spotted in the
lingerie department, eh, Wendy?
WENDY
There's nothing wrong with Sir Edmund Hillary buying underwear for his wife. He was a very
nice man!
JULIET I
bet it was thermal underwear!
Pauline roars with laughter.
PAULINE I bet he pitches a tent in the
middle of their bedroom, and they have to pretend to be on some mountain!
HONORA
That's enough, Yvonne!
Juliet roars with laughter. The others don't laugh.
HERBERT That man's a credit to the
nation.
Pauline and Juliet dissolve into giggles.
HONORA Right . . . who's going to help
me clear away?
WENDY I will, Mum . . . anything to get
away from Laurel and Hardy!
INT.
RIEPERS' HOUSE/KITCHEN DAY
Pauline and Juliet are putting dishes away.
HERBERT I'd better be getting back. Bye, love.
Herbert pulls his coat on. Honora gives him a peck cheek.
HONORA Bye.
HERBERT Have
a nice outing, you lot.
PAULINE Bye,
Dad.
JULIET
Goodbye, Mr. Rieper.
Herbert wanders out. Honora turns to Pauline and Juliet.
HONORA Well
. . . I better make myself a bit more presentable.
CLOSE-UP . . . kitchen clock . . . 1:13.
INT.
BUS DAY
CLOSE-UP . . . clock on bus dashboard . . . 2:23.
Honora is sitting at the back with Pauline and Juliet bus
winds its way toward the Cashmere Hills.
EXT.
BUS TERMINUS/VICTORIA PARK DAY
Bus destination sign rushes up to CAMERA and stop . . .
"Victoria Park."
The doors open and Honora, Pauline and Juliet climb out.
Pauline carries her shoulder bag.
VICTORIA PARK . . . a very bushy, tree-clad hillside.
JULIET
Isn't it beautiful!
PAULINE
Let's go for a walk down here . . . come on, Mummy!
Honora spots a tea kiosk.
HONORA Id like a cuppa tea first!
Come on!
Honora heads toward the kiosk.
Pauline hoists the bag back up on her shoulder.
CUT
TO:
INT. TEA KIOSK DAY
Tray of tea and scones covered in jam and cream.
Pauline and Juliet are scoffing scones as Honora drains her
cup of tea. Pauline notices Honora glancing at the last remaining scone.
PAULINE (Gently) You have it.
HONORA Oh,
no. I'm watching my figure.
JULIET But
you're not fat, Mrs. Rieper!
HONORA I
put on a lot of weight over Christmas.
CLOSE-UP . . . clock on wall . . . 3:02.
LOUD TICKING . . .
Pauline pushes the plate to Honora.
PAULINE Go on, Mum, treat
yourself.
Honoras will weakens. She picks up the scone and takes a big bite.
CUT
TO:
EXT. VICTORIA PARK/BUSHY TRACK DAY
Puccini's "Humming Chorus" plays over:
Honora, Pauline and Juliet walking down a narrow, bushy
track.
Pauline leads, with Honora behind her. Juliet lags further
behind.
They walk over a small bridge. Pauline glances back at
Juliet. Juliet hesitates and then drops something on the path.
Several yards beyond the bridge, Honora stops. She looks at
her wristwatch . . . 3:17.
The music ends.
HONORA Yvonne, love, we should be going
back . . . we don't want to miss the bus.
Honora
turns around.
HONORA Juliet . . . button up your coat,
dear. You'll get a chill.
Juliet
slowly starts to button her overcoat, as she turns around and walks back toward the
bridge.
Pauline is walking right behind Honora. She slips the bag
off her shoulder.
They walk on.
Pauline stops . . . points at the ground.
PAULINE
Look, Mother!
Honora
looks down at the ground in front of her.
STEP-PRINTED
SLOW MOTION SEQUENCE . . .
MOVE
IN . . . to a small pink stone lying on the ground.
MOVE
IN . . . to Honora's puzzled face.
She
starts to bend down.
Juliet turns around.
Pauline reaches into the shoulder bag.
Honora's fingers reach the pink stone.
Back of Honora's head.
The brick emerges from the bag.
Honora's hand picks up the pink stone.
Pauline swings the brick down toward Honora's head.
SOUND
OF THE IMPACT . . . Honora's fingers release the pink stone.
Honora
falls to her knees . . . raising a hand to her head . . . starts to turn . . .
LOW
ANGLE . . . Pauline, hesitating . . . the reality of her actions have flooded in. She
looks distraught, then, with renewed resolve, she suddenly swings the brick down
toward CAMERA.
SOUND
OF IMPACT.
INTERCUT
WITH
EXT. WHARF/OCEANLINER DAY
BLACK
& WHITE . . .
SHIP'S
FUNNEL BELLOWS. Streamers float from ship to shore. Crowds frantically waving on the wharf
as the liner prepares for departure.
Pauline pushes desperately through the THRONG OF PEOPLE on
the wharf, trying to reach the ship.
She
stumbles . . .
EXT.
VICTORIA PARK/BUSHY TRACK DAY
Honora
falls to the ground . . . blood trickling down her face. She's panting heavily.
Pauline swings the brick down again.
EXT.
WHARF/OCEANLINER DAY
BLACK & WHITE . . .
SOUND
OF IMPACT.
Gangplank
hauled up. Docking ropes thrown off.
Pauline is frantic . . . she's going to miss the ship. She
cries out . . .
EXT.
VICTORIA PARK/BUSHY TRACK DAY
Pauline
swings the brick down.
SOUND OF IMPACT.
Honora's fingers scratch at the stoney ground. Juliet's feet
are walking toward CAMERA in b.g.
TILT
UP . . . Juliet looms over.
HIGH
ANGLE . . . Honora looking up at Juliet, her face imploring.
EXT.
WHARF/OCEANLINER DAY
BLACK & WHITE . . .
Juliet, looking very upset.
PULL
OUT . . . she is leaning over the rail on the liner's deck.
Pauline on the wharf, unable to reach the ship. She reaches
out forJuliet.
Juliet reaches out . . .
EXT.
VICTORIA PARK/BUSHY TRACK DAY
Juliet's
hand . . . takes hold of the stocking. . .
Pauline's
hands grab Honora's neck and push her down, into the mud.
Juliet
swings the brick down.
EXT.
WHARF/OCEANLINER DAY
BLACK
& WHITE . . .
Pauline
. . . screaming hysterically.
Juliet
on the liner . . . tears streaming down her face.
WIDE
SHOT . . . liner steams away from the dock.
CLOSE-UP
. . . Pauline, sobbing on the wharf.
CLOSE-UP
. . . Juliet, tearful. She slowly raises her hand and waves goodbye to Pauline.
JULIET
(Whispers) I'm
sorry.
PULL
OUT . . . Henry and Hilda are standing on either side of Juliet. They both put a
comforting arm around their distraught daughter's shoulders.
CLOSE-UP
. . . Pauline looking devastated.
SLOWLY
PULL OUT from Pauline's face . . . she stands alone, sobbing.
FADE TO BLACK
PAULINE (V.O.) (Anguished) No!
SONG
FADES UP. . .
Mario
Lanza singing "You'll Never Walk Alone."
A
SERIES OF CARDS explains what happened subsequently:
"In the
hours following Honora's murder, a police search of the Rieper house unearthed Pauline's
dairies. This resulted in her immediate arrest for the murder her mother."
"Juliet was
arrested and charged with murder the following day."
"After
Pauline's arrest it was discovered that Honor, Herbert Rieper had never married. Pauline
was therefore charged under her mother's maiden name of Parker."
"In August
1954, a plea of insanity was rejected by the jury in the Christchurch Supreme Court trial
and Pauline Parker and Juliet Hulme were found guilty of murder."
"Too young
for the death penalty, they were sent to separate prisons to be 'Detained at Her Majesty's
Pleasure."
"Juliet was
released in November 1959 and immediately left New Zealand to join her mother
overseas."
"Pauline
was released two weeks later, but remain New Zealand on parole until 1965."
"It was a condition of their release that they never meet again."
THE END
Heavenly
Creatures
Release date: November 16, 1995
Directed by Peter Jackson
Produced by Jim Booth
Executive Producer: Hanno Huth
Co-Producer: Peter Jackson
A Miramax Films release of a Wingnut Films production co-produced with Fontana Film
Productions GmbH in association with the New Zealand Film Commission.
PRINCIPAL CAST
Pauline
Parker.................Melanie Lynskey
Juliet Hulme.....................Kate Winslet
Honora Parker.................Sarah Peirse
Hilda Hulme.....................Diana Kent
Henry Hulme....................Clive Merrison
Herbert Rieper...............