FINCHIE'S WAR

written by Pam Gems

Jonathan Gems Productions Ltd
The Studio
197 Hammersmith Grove
LONDON  W6 0NP

June 2000

FINCHIE'S WAR

EXT.  BURNING FARMHOUSE STABLES - 1944 - NIGHT.

Medium shot of BURNING STABLES AND STABLE-YARD.

Sound of HORSES screaming and banging their hooves against the walls - trying to get out.

THREE FIGURES run across the stable-yard, shouting.

Close on: Stable doors.

A FARMER (48) tries to open the stable doors, burns his hands, cries and springs back.

INT.  FARMHOUSE STABLES - NIGHT.

Smoke-filled stables.  Terrified horses whinny and kick the stable walls.

Start opening titles.

EXT.  YARD AND BURNING FARMHOUSE STABLES - NIGHT.

FARM LABOURER (30) and FARMER'S WIFE (45) throw buckets of water on stable door.  A cloud of steam fills the screen.

INT.  FARMHOUSE STABLES - NIGHT.

A large sheet of flames bursts up from a pile of straw.

ON: Panicking horse breaking violently through wooden stable-gate.

EXT.  YARD AND BURNING FARMHOUSE STABLES - NIGHT.

The farmer, farmer's wife and farm labourer are passing buckets of water from the well and throwing water on stable door.

A fourth figure appears through the smoke - NELL FINCH (FINCHIE), a young woman of 19 dressed in bell-bottoms and Navy sweater.  She takes the bucket of water from the farm labourer's hands, upends it over herself and pulls open the stable door.

Thick smoke pours out from the stable.

Nell disappears into the smoke.

ON:  Farmer's wife's blackened face.
			FARMER
		(Anxious)  Nell!

INT.  FARMHOUSE STABLES - NIGHT.

Nell runs through the smoke and flames, opening the stable gates - releasing the terrified horses.

The horses thunder past her.

Flaming wood drops from the roof, obscuring Nell from view.

EXT.  YARD AND BURNING FARMHOUSE STABLES - NIGHT.

Horses burst from the burning stables - knocking over the farm labourer.  The farmer goes into the stable with bucket of water.

INT.  FARMHOUSE STABLES - NIGHT.

Nell struggles to pull open bolt on stable gate as the confined horse leaps and kicks out - narrowly missing her head.

New angle:  The farmer with the bucket (Nell's father) appears through the smoke down the central corridor.

ON: Nell's black and blistered hands releasing the bolt.

The large horse charges through the open gate.

The horse knocks the farmer over as it bolts for the way out.

Nell turns.

A huge sheet of flame blazes between Nell and her father, obscuring the farmer from view.

One end of a burning roof beam drops from the ceiling - narrowly missing Nell's head.

Roar of burning stables.

Nell's POV: A window at the back end of the stable-building.

EXT.  YARD AND BURNING FARMHOUSE STABLES - NIGHT.

Horses race around in the stable-yard.  The stable building is now fully blazing. 

Smoke belches out through the main stable doors and window.

The farm labourer and farmer's wife pull the farmer out through the stable doors.

INT.  FARMHOUSE STABLES - NIGHT.

Flames lick around Nell as she climbs up onto a saddle-rack, and opens the window.

EXT.  YARD AND BURNING FARMHOUSE STABLES - NIGHT.

The farmer, coughing, opens the 5-BAR GATE and lets the horses into the PADDOCK.

The farmer's wife and the farm labourer's shouts cannot heard above the roar of the fire.

They try to go back into the stable to get Nell.  The heat beats them back.

INT.  FARMHOUSE STABLES - NIGH.

Nell launches herself out through the window as a large piece of roof caves in behind her - spewing gobbets of flame.

EXT.  BACK OF BURNING STABLES - NIGHT.

Nell comes out of the burning stable window and lands on a compost heap.

EXT.  YARD AND BURNING FARMHOUSE STABLES - NIGHT.

The stable is collapsing.

The farmer's wife is pulled back by the farm labourer.

ON: Farmer, face-blackened, his breath rasping.

He looks up.

ON:  The farm labourer who pulls the farmer's wife's sleeve.

Their POV:  Nell comes through a side-gate into the stable-yard, limping, clothes smoking.

Nell waves to her parents and bends over, coughing and gasping in the smoke.

Dissolve to:

EXT.  COAST ROAD - CORNWALL - EARLY MORNING.

Clouds.

High wideshot of the winding Coast Road and the Atlantic Ocean.

It is dawn - and spookily beautiful.

In the sky a CORSAIR AIRCRAFT wheels and turns.
A NAVAL BUS comes into view, driving along the coast road.

END OPENING TITLES.

INT.  MOVING NAVAL BUS - DAWN.

THREE SAILORS are playing poker on a suitcase.

Nell is asleep, wrapped warmly in a navy great-coat, a large kit-bag at her feet.

EXT.  COAST ROAD AND AIRFIELD - DAY.

ON: Naval Bus - approaching a large airfield.

The bus passes AIRCRAFT, parked on the grass like birds.

INT.  MOVING NAVAL BUS - MORNING.

Nell and the sailors (all sleepy) are jerked awake as the truck jolts to a stop.

EXT.  NAVAL AIRFIELD - NORTH CORNWALL - MORNING.

The truck waits at the gates of the airfield.

There are SENTRY HUTS on either side of the road.

The TRUCK DRIVER is talking to TWO SENTRIES.

Superimpose caption:

NAVAL AIR TRAINING CAMP - CORNWALL - 1944

EXT.  AIRFIELD - DAY.

The Naval Bus drives past MAINTENANCE BUILDINGS and HANGARS across the airfield past PLANES parked on the tarmac - heading for a collection of BUILDINGS at the other end of the perimeter track.

			TANNOY
		(Loud)  Evoe, evoe, lash up and stow.  Evoe, evoe, lash up and stow.

EXT.  OFFICES, BARRACKS AND REGULATING BUILDING - DAY.

Outside the Regulating Building, TWO WRENS are sharing a cigarette.

Across from them, THREE MATELOTS are painting a wall.
One Matelot looks across to the Wrens, then at his mate. 

They shrug and go back to painting the wall.

In the background can be seen part of the airfield and the planes.

The Naval Bus comes into view, stops, disgorges MATELOTS and drives off, with Nell still on board.

The bus passes out of frame revealing FIVE SUB-LIEUTENANT TRAINEE PILOTS being marched across the street by a grim-faced PETTY OFFICER.

The Wrens and sailors look at them as they enter the Regulating Building.

One of the Matelots grins at the Wrens.  His Oppo (mate) nudges him.

			MATELOT #1
		Leave off, Lofty.

His mate looks at him in enquiry.

			MATELOT #2
		(Resentful)  They're for the officers...officers only!

INT.  C/O'S OFFICE - DAY.

THE C/O sits at his desk.  He is a handsome man in his mid-forties.

The Petty Officer stands formally in the background.

The five Sub-Lieutenant trainee pilots are standing to attention in front of the desk.
An inquiry is in progress.

			C/O
		What were you doing in the Wrens' quarters?

			SUB-LIEUTENANT MARTIN
		Rat shoot sir.

			SUB-LIEUTENANT EVANS (Welsh)
		They were as big as cats, sir.

			C/O
		Shut up.  How many d'you get?

			SUB-LIEUTENANT EVANS
		Five or six sir.

			SUB-LIEUTENANT MARTIN
		More than that sir!

			C/O
		Shut up.  Five or six rats and one Wren Officer.  You shot her in the arse, you bastard!

			SUB-LIEUTENANT MARTIN
		It was dark, sir...

INT/EXT.  THE BUS, BOWLING ALONG - CLIFFS - BEACHES - SEA - DAY.

Nell looks out of the window at the beautiful North Cornwall cliffs, beaches and sea.

EXT.  FORECOURT OF THE WRENS' QUARTERS, A GRAND, STONE-BUILT HOTEL.

Nell gets out of the Naval Bus with her kitbag.

The Naval Bus drives off.

She looks around and takes a deep breath, hoists her kit-bag onto her shoulder, catches sight of a seagull perching on a nearby statue.  They look at each other.  She goes up the steps.

The door opens revealing BARBARA (21), dark and vivid, with bright red lipstick, in Wren Uniform.  She holds the door open for Nell.

			BARBARA
		Hallo Finchie.

			NELL
		Thanks, Barb.

			BARBARA
		You back?

			NELL
		Yup.

Nell grins and enters the building.

INT.  ENTRANCE HALL - WREN'S QUARTERS - DAY - CONTINUOUS.

The entrance hall contains CHAIRS and TABLES.  There is a RADIO ON A STAND, A LARGE CLOCK, and, on the walls, a SHELVED `PIGEON HOLE' STRUCTURE for messages, and VARIOUS POSTERS including one saying: "Careless Talk Costs Lives!"  A STAIRCASE leads to the first floor.

			BARBARA
		(Holding the door)  Good leave?

			NELL
		Yes.

			BARBARA
		Still a virgin?

			NELL
		What do you think?

Barbara smiles and heads out.  The door swings shut.

Nell crosses the entrance hall and goes up the staircase.

Dissolve to:

INT.  MESS HALL - DISPERSED QUARTERS - AIRFIELD - DAY.

The mess hall is a large, bleak room.

Through a half-open door to one side can be seen the kitchens, and COOKS and HELPERS moving about.  

A MATELOT comes out with trays of food, placing them on the LONG BAR, with its stacks of glasses, plates, cups and saucers and cutlery.

There is a STAGE at the far end of the hall, flanked with black curtains.

Before it, at a table, stands FIRST-OFFICER PARDY-SMITH, a large bosomy woman in her 40s, with an upper-middle-class accent.  

Slightly behind her stands LEADING-WREN CYNTHIA HARTLEY, tall, with cold good looks.

Facing the stage, seated in fold-up chairs, are 50 WRENS.

			F/O PARDY-SMITH
		I cannot emphasise too strongly the importance of the work we are doing here.  The hours are long and we are constantly short of personnel - we need to send you on courses as methods of training are revised and improved.  Our task, training the pilots as they return from basic training in Pensacola, is to turn them, as the C/O says, into fighting machines.  Our new aeroplane, the Corsair, is a beautiful aircraft, safe, manoeuvrable and fast.  Useless if shot out of the sky because the training of the pilot is imprecise and inadequate.  To the Bomb Range Markers among you I say this.  Cold hours spent on clifftops measuring dives onto sea targets can be tedious.  Do not - repeat not - allow your attention to detail to be deflected by fatigue or discomfort.  We must know and record the ability of every pilot in every squadron that passes through our hands.

Cynthia moves to the First-Officer's side, whispers in her ear.

			F/O PARDY-SMITH
		Leading-Wren Hartley tells me that a tilly will be driven out with a tea urn for you twice daily.

Pleased reactions from the BOMB RANGE MARKERS.

We move to another section of the audience, picking out the faces of Nell, Barbara, JUNE, fair, with fluffy sandy hair and a gentle, placid face, EILEEN, the Londoner, sharp-faced and lively-eyed, OLIVE, a smooth-faced girl with dark hair and large eyes, and BUNNY, aristocratic in manner, and very plain.

			F/O PARDY-SMITH
		Now.  The Cine Gun Assessors.  Your task is vital.  (Move on faces of girls here.)  After each day's exercise, when the film from the camera is developed, your job is to find and chart - accurately - each and every pilot's pattern of shooting.  Frequent night work, we all agree, is inconvenient.  So is having to work from negatives rather than printed film.  But speed is essential.  A pilot must be shown, on a daily basis, his progress.

			VOICE
		(Sotto voce) Or otherwise.

Cynthia looks sharply towards the voice.

			F/O PARDY-SMITH
		Precisely.  I know the work we are asking you to do is demanding.  It is not, however, as demanding as the work of the men you support.  Never forget that.  Their lives are in your hands.  Which means that when you are off-duty you take the prescribed periods of rest.  Fatigue causes mistakes.  Mistakes cost lives.

She picks up her papers, nods to Cynthia.

			CYNTHIA
		On caps and dismissed.

The girls put on their hats, stand to attention as the First-Officer leaves, and disperse.

EXT.  CORNISH COAST AND SEA - DAY.

A SQUADRON on exercise - diving on fixed targets in the sea.
On the sea is a HUGE, ROUND TARGET, like an archery target.  Corsair aircraft, singly, dive bomb the target, dropping imitation bombs, wheeling away in turn and up into the sky like seagulls.  We watch five aircraft in turn.  They all miss the target.

Up on the windy cliffs WRENS in greatcoats are working with instruments, assessing rates of success.  They look cold and pissed off.

INT.  THE CINE ASSESSING ROOM.  NIGHT.

SIX LONG TABLES, WITH 8MM PROJECTORS at one end, SMALL SCREENS at the other.  

June, Nell, Eileen and Barbara are working.

June is measuring images of aircraft projected in negative form, on the screen, (archival footage), then writing on paper.  Eileen is doing the same.

Barbara is having a cigarette as Cynthia oversees a huge paper of calculations being worked on by Nell.  She nods satisfaction.

Nell blows out her cheeks in relief as Cynthia, moving away, glares at Barbara - who looks back coolly, sitting on one of the long tables, one knee up.  She surveys the scene.

			BARBARA
		Bunny's got the right job.

			EILEEN
		Captain's office?  He's old!

			BARBARA
		(Thoughtfully)  Oh, I don't know - wears a suit well.

INT.  C/O'S OFFICE - DAY.

ON:  Bunny at desk, looking at...PAN TO: CAPTAIN.

The Captain stands, hands behind back, rocking slightly, by the window.  He looks an impressive figure in his suit with the gold braid.

The telephone rings.  The C/O, seated at his desk, picks it up.

			C/O
		Harh?  Right.

Puts down the telephone and rises.

The Captain turns.

			C/O
		He's on his way.

EXT.  AIRFIELD - DAY.

The Captain and the C/O wait, screwing up their eyes against the light.

A lone TILLY (Utility Vehicle) which looks like a poor man's home-made jeep, appears across the tarmac - shimmering like Omar Sharif in Lawrence of Arabia.

			C/O
		First copper-bottomed war hero we've had here, sir.

			CAPTAIN
		What's his name again?

The tilly approaches.

			C/O
		Johnnie Granville-Kerr.  Bag of five confirmed.  Been in the drink three times.

			CAPTAIN
		Good.  Good for morale.

The C/O, unseen, looks at him drily.

The tilly reaches them, approaching at high speed, and slews to a halt.

LIEUTENANT JOHNNIE GRANVILLE-KERR (known as GK) steps out - and falls down drunk.

His TWO DALMATIANS leap out, frolicking and licking his face.

The Captain and the C/O look down at him non-committally.

GK looks up, smiling benignly.

			GK
		Sorry about that.

INT.  A BIG, PLEASANT BEDROOM IN THE WRENS' QUARTERS, THE REQUISITIONED HOTEL.

There are large French windows onto a large balcony.  From the balcony the view of the sea is splendid, with rocks below.

In the bedroom are two double bunks, inhabited by Bunny, Nell, June and Barbara. 

The girls are off-duty, preparing to go out.

June is crouching by her small bedside mirror, doing her hair.

Nell is dressing - she puts on blackout knickers and her uniform, white blouse, tie, jacket and skirt.

			BARBARA
		(Applying Max Factor panstick to her face.  To Nell)  You missed a treat last week.

			NELL
		What?

			BARBARA
		Brmmm!  (Makes a crashing sound.)

Bunny looks at her coldly and turns away.

Barbara holds up her hand, the fingers splayed.

			NELL
		(Alarmed)  Five?

			BARBARA
		Up goes the ceiling -

			JUNE
		Up goes the squadron -

Bunny, her head in her book, mutters.

			BUNNY
		Down comes the ceiling.

			NELL
		Five?!

			BARBARA
		Straight into a hill.

			NELL
		Where?

			BARBARA
		Dunno.

			JUNE
		Wales, I think.

			BUNNY
		They were single-seaters.

			JUNE
		Yes, not like Barracudas - three at a time.

Outside, the seagulls wheel.

			NELL (V/O)
		Who bought it?

			BUNNY (V/O)
		Denis Lowe.

			JUNE (V/O)
		Jeff.

			BARBARA (We are back in the
			           cabin)
		Little Curly.

			JUNE
		Curly?  I didn't know that.  Oh blow - I liked him.

			NELL
		Who else?

			BUNNY
		Colin Tinsley.

			BARBARA
		And Bat-Ears.

			NELL
		No - Bat-Ears was in the Naafi this morning.

			BARBARA
		Some other gink then.

She sweeps up the front of her hair on each side fastening it with combs.

Nell pauses, lipstick in hand.

			NELL
		(Dreamy)  You know something?

			JUNE
		What?

			NELL
		There's too much death around here.

Laughter.  But for a split second Bunny looks demented.

Barbara, having finished her hair and makeup, is putting on black cami-knickers.

			NELL
		You'll freeze.

			BARBARA
		Wanna bet?

She throws on a red skirt and jacket over the cami-knickers, grabs her bag and goes, with a foxy smile for them all at the door.

			JUNE
		The lady in red.

			NELL
		(Laughs)  Who's she seeing?

			BUNNY
		This week -

			JUNE
		Bunny!  Barbara is very loyal to her fiancé.

			BUNNY
		Yes.  Both of them.

			NELL
		(Laughs)  What do you mean?

			JUNE
		She's going out with The Skull.

			NELL
		Who?

			BUNNY
		Tom Barnes, Gunnery Officer.

			JUNE
		Only there's a new pongo - Liaison Major - drafted in from Northern Ireland.  He's her fiancé as well.

			NELL
		So which one does she like?

			BUNNY
		Hasn't made her mind up.

			JUNE
		The Skull's better-looking -

			BUNNY
		But the Major owns Yardleys.

			JUNE and NELL
		(Awed)  Yardleys!

June takes a last look in the glass, signals to Nell, goes to the door and waits.
			NELL
		Bunny?

Bunny continues to read her book.  Eventually looks up as Nell stands over her.

			NELL
		Change your mind?

			BUNNY
		No thanks.

EXT.  CLASSY COUNTRY HOUSE HOTEL - EARLY EVENING.

Barbara jumps out of a TILLY, waves thanks, runs quickly up the steps and into the hotel.

INT.  HOTEL LOUNGE.

Barbara hurries across the lounge to the LIAISON MAJOR, an impressive figure with a bristly moustache.

He rises at her approach, his face full of expectant ardour.

EXT.  CAFE.  EARLY EVENING.

Through the window we see Nell, June and Eileen, heads down, eating egg and chips needfully.

Eileen pauses for a drag at her cigarette, places it back on a saucer, gets back to the egg and chips.

GK saunters into view with his dogs.  He looks in at the girls through the condensation on the plate glass window, stands for a moment, moves off down the narrow road to the pub.  Goes inside.

INT.  THE PUB.  NIGHT.

The pub is crowded and noisy.  It is full of SUBBIES and WRENS.  One group of Subbies consists of SUB-LIEUTENANT PINCHER MARTIN, fair and lanky, SUB-LIEUTENANT HUGH EVANS, dark and Welsh, and SUB-LIEUTENANT ROBIN JARVIS, nice-looking and shy.

Another group, drinking purposefully, sitting down, consists of the GUNNERY OFFICER, TOM BARNES, tall and cadaverous, a New Zealand LIEUTENANT-COMMANDER ROY WISE (known as "Packing a Parcel") and LIEUTENANT (ADMIN) TREVOR NEVILLE (known as "Cream of Wheat").  They are older than the SUBBIES and are drinking whisky.

Eileen, Nell and June come in and find a table as the Subbies break into the Hokey-Cokey.  they sing, with gestures:

			SUBBIES
		You put your left arm in, your left arm out -

		You put your left arm in and you shake it all about -

		You do the hokey-cokey and you turn around,

		That's what it's all about.

Robin Jarvis, turning, bumps into June's chair.  She smiles forgivingly.

Pincher winks at Robin, wets his finger and draws a one in the air.  Robin shakes his head, shy.

At the other end of the pub, on a barstool, GK sits, cigarette in hand, surveying the crowd, drink at elbow.

A little later.  The girls are laughing, making the Subbies self-conscious.  We close in on the Girls.

			EILEEN
		Cream of Wheat's got his eye on me.

			JUNE
		Why do you call him that?

Eileen sticks out her front teeth.  They look across at Lieutenant Neville, amiable-looking with protruding teeth.

			EILEEN
		He looks like the daft kid in the cornflake advert.  (She pulls a face, sticking her teeth out and looking goofy.)  And that little subbie in the new squadron - the one like this?  (She sticks out her lower jaw.)  Wheat of Cream.  Over there.

A Subbie, NIGEL TROTTER, standing in a group, has a prognathic jaw.  Catching their glances he threatens to approach so they turn away.  He hovers about.

Barbara comes in with the Liaison Major.

The Gunnery Officer gets up -is restrained from approaching them by Trevor Neville and Roy Wise.

INT.  PUB - NIGHT - LATER.

The Subbies are singing a Fleet Air Arm Song.

	"They say in the RAF that the Landing's OK,
	If the pilot gets out and can still walk away -
	But in the Fleet Air Arm the outlook is grim,
	If the aircraft's pp and the pilot can't swim.

	Chorus:	Cracking Show
			I'm alive
			But I still have to render my A25.

	The tower said lower but I came in much higher -
	Made a hole in the deck and I pranged a Seafire -
	They guys in the gooper said something obscene
	But I got my commission from Supermarine.

	Chorus:	Cracking Show
			I'm alive
			But I still have to render my A25!

GK wanders across to the girls' table.  Eileen puts out a chair quickly to stop him from falling to the floor.  He smiles at them.

Olive and Cynthia come in.  Cynthia sees GK, whispers to Olive.  They approach.

			CYNTHIA
		Well - and how are my little Wrenlets tonight?  It's GK, isn't it?  We met in Claridges once.  Cynthia Hartley.  A friend of mine, Olive de Lignes.

Olive is dark and striking, with a disturbing stare.

			CYNTHIA
		Drinks, everyone?  GK, what are you having?

We draw back from them as Cynthia turns to the bar.  June and Nell exchange a glance, amazed at the offer of a drink from Cynthia.

A little later.  A conga line has started and is snaking round the room.

			SUBBIES & WRENS
		(Singing and dancing)
		Da-da dadada conga
		Da-da dadado conga
		It's plain to see -
		She (He) fancies me -

Hugh Evans leans over and pulls Eileen into the conga.

Robin Jarvis, seeing Cynthia in a crush, takes the drinks tray from her, brings it to the table, smiles shyly at June and withdraws.

They sit back with their drinks.  GK surveys them.  Cynthia lifts her glass to him.  He smiles, gets up.  And leans over and takes Nell by the arm.  Cynthia's eyes flicker with fury.

The conga.  It goes out into the street - leaving the door of the pub open.

			VOICE
		Put that light out!
The dancers lurch about the street.

June, coming outside to watch, is passed by Robin.  He sees her, breaks away from the line, approaches.  She takes his hand, joins the dance.

EXT.  STREET - NIGHT - LATER.

GK, June, Robin, Nell, Hugh and Eileen, arm in arm, reel down the middle of the street.  The conga has broken up.  People are walking away - sounds of laughter.  GK, June, Eileen and Nell step over TWO DRUNKEN SUBBIES and walk away round the corner.

			GK  (V/O)
		So - who wants to come flying with me tomorrow?

			JUNE  (V/O)
		What?

			EILEEN  (V/O)
		He must think we're nuts!

EXT.  SKY - DAY.

A beautiful day.  An AIRCRAFT performs arabesques through the sky.

INT.  COCKPIT - MOVING PLANE AND SKY - MORNING.

Nell is sitting behind GK who is flying the plane.

ON:  Nell.  She loves it.

INT.  OPERATIONS ROOM - DAY.

Subbies are sitting.  Lieutenant-Commander Roy Wise is on the DAIS.

			LT COMMANDER WISE
		(New Zealand accent)  ...remember, as you climb you're vulnerable.

EXT.  CORSAIRS ON EXERCISE - DAY.

The CORSAIRS wheel and dive.

The talk on the R/T is indecipherable, interspersed with Roy Wise's voice.

			LT COMMANDER WISE  (V/O)
		...pitch up as you roll to meet the bank angle - particularly if you're ass-end Charlie - the Gerries are good at picking off weavers...and no aerobatics - you're not doing target practice on drogues, y'know...and don't fly straight for more than thirty seconds if you want to stay in the game...

INT.  CINE GUN ASSESSING ROOM.  AFTERNOON.

The Wrens are working.  Lieutenant-Commander Roy Wise looks in.

			ROY
		Any of you girls know anything about packing a parcel?

			EILEEN
		Paper and string?

			JUNE
		A box?

			NELL
		(Soberly)  If it's for New Zealand - I'd say canvas, tar, bolts and a fire alarm.

			ROY
		OK, OK - just get those results right or you're for it, clever dicks.

He goes.

			EILEEN
		(NZ voice)  Packin' a parcel, eh?

			BARBARA
		Makes you think.  (Bends to her charts.)

			JUNE
		Well I hope he's not going to be like that.

			CYNTHIA
		OK you lot - tea break.  Finch.  Hop to it.  Milk no sugar.  Olive?

			OLIVE
		(Without turning)  Ovaltine.

Olive's POV through window: A NEW SQUADRON OF YOUNG MEN is marching down the road towards them.

Barbara joins her at the window.

			CYNTHIA
		New squadron?

			OLIVE
		Yes.

Olive appraises the faces of the new squadron as they pass.  Intercut between faces of the new squadron and Olive.

			OLIVE
		You...him...

ON: Nell, making the tea.  She pulls a face at Olive's apparently gross sexual appetite.

Barbara catches her expression.

			BARBARA
		She's counting the ones who'll be dead by the end of the course.

Nell, shocked, looks at Olive's back.

Intercut between faces of the new squadron and Olive.

			OLIVE
		You...Not you...You definitely...

INT.  WRENS' CABIN - NIGHT.

Nell is at the basin.  Eileen is washing her hair for her.

Bunny, on the far top bunk, is filing her nails.

			NELL
		(To Eileen)  How can she tell?

Eileen attacks Nell's hair with a spray - rinsing off the shampoo.

			EILEEN
		She knew when your father was dead before you got the telegram, didn't she Bunny?

Bunny looks up briefly.

			EILEEN
		And when your brother's ship went down.

Nell straightens up.  She looks across to Bunny.

Bunny goes on doing her nails.

INT.  LOCAL PUB - NIGHT.

The pub is crowded with Wrens and Pilots.

Barbara, in red, arrives with the Gunnery Officer and the Liaison Major.  Who both look murderous.

June, at the bar, is being chatted up by Robin.

Nell arrives with GK.  Cynthia lifts a querying eyebrow at him as he follows Nell to a corner table.

INT.  LOCAL PUB - NIGHT - LATER.

ON:  GK and Nell, their heads together.  His hand, holding a drink, is shaking violently.

Nell takes the drink automatically, sets it down, and carries on talking.

			GK
		Now or later, what's the difference?

			NELL
		I wish you'd stop.

			GK
		I'm a romantic.

			NELL
		No you're not.

			GK
		(Melodramatic, clutching his heart.)  Here - and now.  It's all we have -

Nell laughs.

EXT.  OUTSIDE THE PUB.  NIGHT.

Eileen and Hugh are kissing fervently.  They go off purposefully, try a couple of door handles, find a car that's open and climb in.

Robin and June appear, walking hand in hand.  The moon is up.  June looks up.

			JUNE
		Pilot's moon.

He smiles at her with shy admiration.

			JUNE
		D'you like it?  Flying?

			ROBIN
		No.

			JUNE
		What do you like?

INT.  GARAGE.  NIGHT.

Robin, his MOTORBIKE in bits, is explaining the beauty of the engine to June.  Her eyes are glazed.  We close in on them.

			ROBIN
		...you see June, there's beauty in function.  When I hear a Triumph tick over - smell Castrol R -

He sighs with pleasure, bends to the engine, putting bits together with rapt concentration.

			JUNE  (V/O)
		Robin?  (He looks up.)  Why don't you like flying?

EXT.  SKY - A LONE AIRCRAFT -  DAY.

There is a small, ominous trail of smoke.

INT. AIRCRAFT - DAY.

A young, handsome PILOT fights to control the aircraft.  This is LIEUTENANT PETER JOHNSON.

EXT.  SKY - DAY.

The aircraft loses height.

EXT.  COUNTRY LANE AND OLD COTTAGE - DAY.

Nell and June, walking the Dalmatians, stop before a lovely OLD COTTAGE with boarded-up windows.

They look at each other, walk up the garden path and try the front door.

EXT.  STREET AND HOUSES - DAY.

The aircraft crashes into a HOUSE.  Smoke.  Fire.  Sheets of flame.

PEOPLE run out of the houses into the street - alarmed.

INT.  THE COTTAGE - DAY.

Nell and June enter the cottage by a side door.  The interior is dusty and pleasant.

EXT.  STREET AND HOUSES - DAY.

People run towards the burning house and aeroplane.

INT.  COTTAGE BEDROOM - DAY.

Nell is lying on the bed, picking off the petals of a Shasta daisy.  June looks out at the serene orchard.

			JUNE (V/O)
		You know something?

			NELL
		He loves me - what?

			JUNE
		(Dreamily)  I really hate the Germans.

			NELL
		He loves me not.

EXT.  STREET AND HOUSES - DAY.

People rescue SURVIVORS from the burning house.

INT.  COTTAGE BEDROOM - DAY.

Nell picks the last petal from the daisy.

			NELL
		He loves me!

			JUNE
		You hope.

Nell laughs, throws a CHILD'S BALL from the table at her.

EXT.  GOLF LINKS - DAY.

Thwack! as Cynthia hits a ball.
ON: Ball - flying through the air across the golf course.

Olive tees up.

GK and the Commander wait, allowing them to play through.

Cynthia flicks a glance at GK - who smiles at her.

INT.  CORRIDOR - WRENS' QUARTERS - DUSK.

Nell, with her spongebag, goes along the corridor to the bathroom.

Tacked on to the door is a notice: "Five inches of water only, please."

Nell opens the door and looks in.

Her POV: Cynthia and Olive are in the bath together.  They look up.

			NELL
		Oh, sorry.

			CYNTHIA
		(Cool)  More displacement with two.

Olive's gaze is, as usual, weird.

INT.  WRENS' CABIN - NIGHT.

Bunny is lying on her bunk, reading a book.

Nell and June are preparing for the squadron dance.  They are both in civilian clothes - blouses and pleated skirts.

June grabs her bag from her bunk.

			JUNE
		See you later.  'Bye Bunny.

Bunny looks up from her book.

June hurries out.

			NELL
		She's meeting one of the new squadron.

No response from Bunny.

			NELL
		Robin Jarvis.

Bunny does not react.

Nell swiftly applies mascara and looks in the glass, pleased with herself.  She looks fondly at a small photo of GK, propped up on her locker.

			BUNNY  (V/O)
		I wouldn't get involved with Granville-Kerr if I were you.

Nell turns, puzzled.

			NELL
		Why not?

Bunny doesn't reply.  She returns to reading her book.

			NELL
		What's wrong with him?

Bunny ignores her.

			NELL
		Bunny?

Defeated, Nell grabs her cardigan and shoulder bag and leaves.

			BUNNY
		(Mildly, to the empty room)  Because he's a shit.

Suddenly restless, she throws her book across the room.

INT.  THE MESS HALL, CLEARED FOR DANCING - NIGHT.

A vigorous quickstep is in progress.  Nell, June and Eileen are laughing with Hugh Evans, Pincher Martin and Robin Jarvis.

Nell cranes her neck, looking at the door for GK.

Her POV:  GK comes in.  He is already drunk, sees Nell and weaves towards her, smiling happily.

INT.  THE MESS HALL - NIGHT - LATER.

June is dancing a slow foxtrot with Robin Jarvis.

Nell is dancing with GK.

Barbara is sitting out between the Gunnery Officer and the Liaison Major, who are both fed up.

GK whispers in Nell's ear.  Cynthia and Olive, standing with Roy Wise and Trevor Neville see this, exchange a glance as GK and Nell make for the door.

Barbara gets up, stands over her two partners.

			BARBARA
		Which one of you's going to give me a roger?

Both men rise.

EXT.  OUTSIDE MESS HALL - NIGHT.

Heavy petting is going on against the walls.

Pan past to: The countryside - dark and romantic.  Cliffs can be seen, and the sea - silver in the moonlight.  The night is beautiful.  Stars glitter.

EXT.  THE COTTAGE - NIGHT.

The cottage looks romantic in the moonlight.

There is a car parked outside.

INT.  COTTAGE BEDROOM - NIGHT.

GK and Nell fully-clothed, are on the bed, struggling.  It is not immediately evident whether they are making love or fighting.

Finally she pushes him away and sits up.  She is red-faced and tense.

			NELL
		I'm a virgin.

His eyes flicker.  He nods thoughtfully.

			GK
		Not to worry, sweetie.  I doubt if I could manage it anyway.

INT.  THE MESS HALL - NIGHT.

Crack! as the Major lands one on the Gunnery Major.

Cynthia and Olive move back, irritated that their drinks are spilled.

Eileen and June watch the fight with benign detachment as Hugh and Pincher cheer and Robin winces.

EXT.  COUNTRYSIDE, CLIFF and SEA - NIGHT.

A CAR is parked near the cliff-edge.  The sea sparkles in the moonlight.

INT.  PARKED CAR - NIGHT.
The engine is running.  The DRIVER (ROD) sits behind the wheel, smoking a cigarette.

In the back, GK is kissing Nell.

			GK
		What do you say?

			NELL
		No!

			GK
		At least hold it for me.

			NELL
		What for?  I don't want to hold that!

			ROD THE DRIVER
		You okay, Finchie?

			NELL
		Not really, Rod.

The car lurches violently forward.

EXT.  OUTSIDE WRENS' QUARTERS - NIGHT.

Nell and Rod are sitting on the running board of the car, which is parked outside the Wrens' quarters.

			ROD
		He's a good bloke.

Nell looks away.  The thought of GK makes her feel uncomfortable.

			ROD
		They were seconded from the Med for precision bombing.  Crossing the Channel under the radar screens with the Yanks - knocking out rocket sites.  Be no bloody London without him and Peter Johnson.

			NELL
		Who's Peter Johnson?

			ROD
		Came in this morning.

			NELL
		Which squadron?

			ROD
		Admin.
			NELL
		(Puzzled)  Admin?

EXT.  PARADE GROUND - DAY.

ON:  LIEUTENANT PETER JOHNSON following.

The C/O'S Inspection.

The C/O comes along the line of Wrens who are standing at attention.  The C/O is followed by Lieutenant Peter Johnson.

The C/O  reaches the end of the line, where Nell is standing, and moves round NELL to inspect the second rank.

Lieutenant Peter Johnson, following him, turns for the first time.  Nell is shocked.

Her POV: The left-side of his face is horribly burned, the eye socket dragged down.  Lieutenant Peter Johnson glares at her savagely, then walks out of frame.

EXT.  COTTAGE GARDEN - DAY.

A hot summer day.

Nell, June and Eileen are sunbathing in their knickers and bras.

			JUNE
		He got back across the Channel?

			EILEEN
		Yes.

			NELL
		And?

			JUNE
		Baled out?

			EILEEN
		(Shakes her head)  Made it to base.  Landed short.  Dropped in on a woman and three kids.

Nell and June stare at her.

			EILEEN
		Burnt them to a crisp.  And himself.

			JUNE
		So they took him off flying?

			EILEEN
		And frying.

They laugh.  And go quiet.

INT.  THE MESS HALL - NIGHT.

Loud music.  A black and white film is being shown - "Meet the Navy" with William Holden.

Nell, June and Eileen are enchanted.

EXT.  THE VILLAGE - DAY.

Nell comes out of the chemist's.

A HANDSOME YANK steps out of her way.

			YANK
		Hi, Duchess.

Eileen and June, emerging, join her as they gaze after the Yank.

			EILEEN
		Talk about the movies.

They move off.

			JUNE
		It's a fighter squadron - came in St Mawes last week.  Barbara says they've got a great band, some of Glenn Miller's boys.

INT.  THE CABIN - DAY.

The girls, off duty, are changing to go out.  The conversation continues.

			EILEEN
		(Putting on a stocking)  She's got one already (she looks down) - bugger!

Her stocking is laddered.  She tosses it away, takes a bottle of Max Factor beige and slaps it on her legs.

			JUNE
		A Yank?

			EILEEN
		A Colonel.  Nothing less for the Lady in Red.  Bloody Barbara - `come to Plymouth'! - God what a waste of time!

Archival footage of bombed Plymouth.

			EILEEN  (V/O)
		Supposed to stay with her auntie, couldn't even find the road, everything flattened!  We had to stay at the YW and that had no roof.

			BUNNY  (V/O)
		Until you discovered the Free French!

End of archival footage.

			EILEEN
		Yeah - wow!

			JUNE
		Hold still.

She takes an eyebrow pencil, draws seams on the back of Eileen's legs.

			EILEEN
		We ate in their mess - veal escalopes, vol au vents with mushroom sauce - and asparagus.

			JUNE
		Fish and chips, anybody?

INT.  CABIN - DAY - LATER.

The girls, ready to go out, are pooling their money.

			JUNE
		Not enough?

			NELL
		(Holding the kitty)  Not for all of us.

			EILEEN
		OK.  Bite the bullet.

			JUNE
		Pussers' Mess?

Resigned, they pick up their shoulder bags.

			JUNE
		(To Bunny)  Bun?

			BUNNY
		OK.

To Nell's pleased surprise she leaps down, grabs her hat and bag.

EXT.  PETTY OFFICERS' MESS - NIGHT.

This is a BRICK BUILDING - smarter than the Mess Hall.  A sign reads: "Petty Officers' Mess".

Nell, June, Bunny and Eileen arrive.  Eileen shrugs, resigned - and leads them inside.

INT.  PETTY OFFICERS' MESS - NIGHT.

Nell, June, Bunny and Eileen are drinking with FOUR PETTY OFFICERS.

PETTY OFFICER #1 is showing Eileen and June his home snapshots.

Bunny is knocking back the whisky purposefully.
Nell, slightly apart, is listening to PETTY OFFICER REG HANCOCK.

			REG HANCOCK
		I wouldn't mind, you see, Nell, if she'd been straight with me - if it had all been fair and square.  It's when you're the last to know.  I mean, me and her Dad been fishing together since I was a lad.  There's Mum to think about.  I mean she can't share the house with half a regiment coming in and out.  Poles they are.   Poles is what she goes for.

			NELL
		I am sorry, Reg.

INT.  PETTY OFFICERS' MESS - NIGHT - LATER.

Nell, June, Bunny and Eileen are listening to PETTY OFFICER #2 singing "On the Road to Mandalay".

Eileen leans across to June.

			EILEEN
		They've only got spam fritters!

June pulls a face and whispers into Nell's ear - then jerks her head towards the door, suggesting they leave.

EXT.  STREET - NAVAL AIR STATION - NIGHT.

Nell, June, Bunny and Eileen hurry down the alley.

EXT.  CHIEF PETTY OFFICERS' MESS - NIGHT.

ON: Sign over the door: "Chief Petty Officers' Mess".

Pan down to:  Nell, June, Bunny and Eileen going in.

Off-screen we hear a chorus of welcomes.

			CPOS
		Hullo!  Hullo, my beauties! Come in, girls, come in!  Who've we got here, then?

INT.  CHIEF PETTY OFFICERS' MESS - NIGHT.

The Chief Petty Officers' Mess is very cosy - like a nice country pub.  A MATELOT serves drinks from behind a proper bar.  CPO HARRY LEE, broad, fatherly and smiling, greets the girls with open arms.

			CHIEFIE LEE
		Come and sit down, loves!

			GIRLS
		Hullo Chiefie...(to the others) - hullo, can we come in - hullo, boys!

The CPOs make room for the girls.

			CHIEFIE LEE
		(Calls to Matelot)  Give the girls what they want, Mac.

			CHIEFIE BROWN
		(Lecherous)  What do you fancy, girls?

			CHIEFIE MARCH
		(Scottish)  Now, Ernie, hold your horses -

			NELL
		Gin please, Mac.

			JUNE
		Sweet sherry -

			EILEEN
		Cherry brandy -

			BUNNY
		Scotch.

			CHIEFIE MARCH
		That's my girl.

A little later - the Girls with their drinks, with CPOS Lee, Brown and March -joined by CPO RHYS (tiny) and CPO DANIELS (very large).

FOUR OTHER CPOS, left out, drink moodily at the bar.

			CHIEFIE LEE
		So girls, how many you killed this week?

			EILEEN
		Not as many as those fitters of yours, Chiefie.

			CHIEFIE LEE
		I tell 'em, loves - do your own DIs, don't leave it to the matelots.

			CHIEFIE RHYS
		It's too early in the day, you see.

			CHIEFIE LEE
		The lads haven't woke up.

			EILEEN
		Got over the night before, you mean!

They laugh.  Bunny leans to Nell in enquiry.

			NELL
		(Above the noise)  They're saying the pilots should do their own Daily Inspections, not leave it to the fitters.

			EILEEN
		Not so many prangs!

			CHIEFIE BROWN
		Come on girls, knock it back!

INT.  CHIEF PETTY OFFICERS' MESS - NIGHT - LATER.

The CPOs at the bar are chatting, heavily drunk over their drinks, glancing resentfully across to the table and banquettes where Nell, June and Eileen are being groped by the Chiefies as they try to eat their apple pie.

Bunny, sitting slightly apart, starts on the pudding and helps herself competently to more whisky.

ON:  Eileen struggling to remove CPO March's hand from her breast.

ON:  Nell sitting on Chiefie Lee's lap, listening to a joke.

			CHIEFIE LEE
		...and the girl says...

ON:  June pulling away from CPO Brown - who is trying to get his tongue down her throat.

ON:  Eileen jammed against the wall by CPO Daniels, trying to push him away.

ON:  Nell slapping the hands of CPO Rhys who is fondling her bum.

Eileen screeches as CPO Daniels pins her to the ground.

June reels, trying to escape CPO Brown.

Bunny calmly finishes her meal, wipes her mouth with a handkerchief, rises, knocks CPO Daniels' and CPO Rhys' heads together.

EXT.  STREET - NAVAL AIR CAMP - NIGHT.

Nell, June, Bunny and Eileen run as fast as they can down the alley away from the CPOS' mess.

			EILEEN
		(Panting)  You ask yourself - is it worth it?

EXT.  CLIFF TOPS - DAY.

June and Robin walk hand in hand.  He picks a flower for her, she smiles up at him.

Later June is lying against a bank in a sheltered spot on the cliffs.  It is beautiful.   Robin sits by her side, reading from a book of poems by Robert Graves.

Beyond them, out to sea, THREE AEROPLANES on exercise wheel and turn.

			ROBIN
		(Reads)  O Love, be fed with apples, while you may,
		And feel the sun and go in royal array,
		A smiling innocent on the heavenly causeway.

The noise of the aircraft drown him out as we watch them manoeuvre.

			ROBIN
		...Take your delight in momentariness,
		Walk between dark and dark - a shining space
		With the grave's narrowness, though not its peace.

He turns to June, looks at her gently, touches her face, bends towards her.

INT.  A HOTEL ROOM - DAY.

Cynthia gets out of bed lazily, slips into a pale satin dressing gown.  

The C/O in bed watches her in a relaxed sort of way.

There is a knock at the door.  Olive puts her head in.

			OLIVE
		The car's here.

The C/O looks at his watch.

			C/O
		Sorry Olive - you next time?

			OLIVE
		(Politely)  Delighted Commander.

The C/O looks at them both.

			C/O
		Perhaps we could - ?

			OLIVE
		Why not?

Cynthia pulls a dissenting face at Olive.

EXT.  THE COTTAGE GARDEN - DAY.

Under the apple tree, Sub-Lieutenant Evans and Eileen are making love with enthusiasm.

INT.  OPERATING ROOM - DAY.

The Subbies are seated.

Lieutenant-Commander Wise is on the dais.  A still of a negative film, showing two aeroplanes.

			LIEUTENANT-COMMANDER WISE
		Well?

The Subbies shuffle.

			SUB-LIEUTENANT EVANS
		Harmonise at 50, sir?

Reactions from the others.

			SUB-LIEUTENANT EVANS
		You said the closer you harmonise the guns - well, shorter the focus, closer the target, more likely the bag -
			LIEUTENANT-COMMANDER WISE
		Don't get too ambitious, laddy.  Remember, because you're flying solo doesn't mean it's a bloody competition.  Share your info - and remember the motto of the Reconnaissance bods - veni, vidi, evasi - I came, I saw, I buggered off.

EXT/INT.  A COUNTRY ROAD BY THE SEA - DAYTIME.

A LARGE CAR, camouflaged in green and khaki, bowls along.

In the car, behind the GI DRIVER, are Barbara, in red, and COLONEL AL HIRSCHEIM of the American Army Air Corps.  They are feeling each other up.

EXT.  THE HOTEL/WRENS' QUARTERS - NIGHT.

The hotel, in darkness, is seen from the seaward side.  The only noise is the gentle murmur of waves on the rocks.  Then there is the sound of stones falling.

			NELL
		(Softly)  Damn.

She is climbing over the rocks.  She reaches a drainpipe, tucks in her skirt and shins up, onto the balcony.

She taps at the window.  June lets her in.

INT.  WRENS' CABIN - NIGHT.

The Cabin in darkness.  

Nell, in bed on the top bunk, is talking to June in the bunk below.  They talk in whispers.

			JUNE
		Robin's asked me to marry him.

			NELL
		Do you like him?

			JUNE
		Yes.

June pulls back into her bunk.

ON:  Bunny in her bunk opposite them.  She is tense and annoyed.

ON:  Nell lying on her back.  Then she leans over and whispers to June in the bunk below.

			NELL
		I think I'm going to do it with GK.

June leans out and looks up.

			JUNE
		Are you sure?

			NELL
		I think so.

			JUNE
		With GK?

			NELL
		(Apologetic)  I know.  He won't even remember the next morning.

			JUNE
		Couldn't you just...?

			NELL
		No, if I'm going to do it...

			JUNE
		Do you really want to?

			NELL
		Dunno.

			BUNNY
		Oh for Christ's sake make up your mind...and keep it the fuck to yourself!

Silence.

			JUNE
		(Small voice)  There's no need for language like that, Bunny.

ON:  Nell, on the top bunk - tracing the wall thoughtfully with her finger.

INT.  THE MESS HALL - NIGHT.

It's Show Night.

On the stage a young MATELOT sings "Buddy Can you Spare a Dime".

The audience of about 80 MALE and FEMALE NAVAL PERSONNEL includes Nell -who isn't watching the stage.  She's looking for GK.  Her gaze dwells on the door.

A MAN comes in who looks like GK.

Nell reacts.
The man steps into the light.  It's someone else.

INT.  MESS HALL - NIGHT - LATER.

Onstage, a CHORUS LINE OF MATELOTS dressed in tutus and tights are high-stepping.

Laughter.

Nell looks round.

Her POV: GK is standing by the door.

She waves.

He goes out.  He hasn't seen her.

She shrugs.

INT.  MESS HALL - NIGHT - LATER.

The Mess Hall has been cleared for dancing.

Nell dances with Pincher Martin, Eileen dances with Hugh.  Barbara dances with Cream of Wheat.

			NELL
		(Passing Eileen)  Seen GK?

Eileen shakes her head.

The music alters tempo.

			BARBARA
		(To Cream of Wheat)  Are you leading or what?

He does a swooping turn, trying to lead forcefully.

			BARBARA
		Even the King dances better than this!

Cream of Wheat is crushed.

INT.  MESS HALL - NIGHT - LATER.

Nell is sitting, talking and smoking with June and Pincher and Robin.

Something catches her eye.

Her POV:  Olive, Cynthia, Peter Johnson and GK are entering.

Nell excuses herself from the others and crosses the floor.

New Angle:  Nell reaches the group.  GK has his back to her.

He laughs at something Cynthia says.

Nell touches him on the arm.

He turns.

			GK
		Oh, hullo, young Finch.

Cynthia and Olive smile at her.

Then Cynthia takes GK'S hand and leads him on to the dance floor.

Nell is stricken.

Peter Johnson turns to Olive but she walks away.

Nell and Peter are left standing together.

			PETER JOHNSON
		Do you want to dance?

His terrible face is before her.

			NELL
		Thank you.

They dance.

INT.  MESS HALL - NIGHT - LATER.

Peter Johnson is still dancing with Nell.

The BAND plays "Here's to the Next Time" which ends with a drum roll - followed by The National Anthem.

All stand to attention.

			JUNE
		(To Nell)  Come on - quick!

Eileen jerks her head urgently for Nell to escape Peter Johnson.

Nell joins Eileen and June.  They hurry across the floor, through the crowd.

But there he is, blocking the exit.

Nell has an opportunity to escape.  She pauses, then joins Peter Johnson.

INT.  CAR - OUTSIDE WRENS' QUARTERS - NIGHT.

Peter Johnson is behind the wheel.  Nell is in the passenger seat.

			NELL
		Thank you for bringing me back.

			PETER JOHNSON
		Not at all.

			NELL
		Well...

She stirs, as if to get out of the car.

			PETER JOHNSON
		Do you want to touch my face?

She looks at him, frightened.

He looks at her and smiles his awful smile.

			NELL
		(Low)  Don't.

			PETER JOHNSON
		I've a two pound block of chocolate back in my cabin.

Nell can find nothing to say.

			PETER JOHNSON
		Diamond ring?  (He shouts)  For a poke!

Nell grabs the doorhandle.

EXT.  OUTSIDE WRENS' QUARTERS - NIGHT.

Nell stumbles out of the car and runs to her cabin.

The car horn hoots - long and loud.

INT.  WRENS' CABIN - NIGHT.

The car horn hoots from outside.

It is dark.  The cabin is full of SLEEPING WRENS.

Nell closes the door.

The horn keeps hooting.
She climbs up onto her bunk and lies down on her back, shocked.

The horn keeps hooting - long and loud.  The others stir.

She jumps down.

EXT.  WRENS' QUARTERS - NIGHT.

Nell comes out of the Wrens' Quarters and puts her head in the car window.

			NELL
		Shut up! 

INT.  CAR - NIGHT.

ON:  Peter Johnson, looking at her.

			NELL
		All right, I'll meet you tomorrow in Wadebridge in the pub.

EXT.  WRENS' QUARTERS - NIGHT.

The car drives away wildly.  

Nell watches it go.  She turns, goes back inside.

Under the statue Hugh Evans and Eileen make love.

Fade out.

Fade in.

INT.  PUB - WADEBRIDGE - NIGHT.

In the background Subbies are playing snooker.

Nell is at the bar, with June and Robin Jarvis.

As we close on them June shows Nell her new engagement ring.  She smiles up at Robin and Nell kisses them both, smiling happily.

She looks round and her expression changes.  Peter Johnson has come in.

PEOPLE react to his face.  A MIDDLE-AGED WOMAN by the door stifles a gasp. 

Peter Johnson glares at her.

INT.  CAR - NIGHT.

Peter Johnson and Nell are in the back.  He is kissing her passionately and pulling at her clothes.

			NELL
		No!

He gets even rougher, slamming her against the window.

Nell cries out.

There is a tap on the window.

			NELL
		Oh God.

GK opens the door.

			GK
		Any chance of a lift, old son?

			PETER
		Bugger off.

			GK
		I seem to be out of transport - long way to walk...

Nell escapes from the car and leaves them arguing.

EXT.  AIRFIELD - DAY.

THREE MOSQUITO AIRCRAFT are taxiing on the runway.

Nell and Eileen stand with Chiefie Lee, watching with admiration.

			NELL
		Look - Mosquitos!

			CHIEFIE
		What a beautiful sight.

			EILEEN
		Will they go on carriers, Chiefie?

			CHIEFIE
		I bloody hope so.

			NELL
		Yeah - finish it.

She walks off.

			CHIEFIE
		What's up with Finchie?  (Eileen shrugs.)  Man trouble?

			EILEEN
		Yup.

			CHIEFIE
		Tell him to sling his hook.

Eileen laughs and walks off.

			CHIEFIE
		(Calls)  You tell her I'm here for her.

INT.  MESS HALL - DAY.

Matelots and Wrens sit separately, eating lunch.

EXT.  MESS HALL - DAY.

Cynthia emerges into the sun, puts on her hat.

GK draws up in his sports car, dogs in the back.  He opens the passanger door for her.

			GK
		Jump in.

They swoop round the perimeter track to the Cine Gun Assessing Hut.

Moments later.  The tilly has stopped.  Cynthia gets out.

			GK
		(Leans out.)  So tell her to keep away from him.

			CYNTHIA
		I shall.

			GK
		She needs her bum smacking.

			CYNTHIA
		(Provocatively)  Really?

			GK
		Weekend still on?

			CYNTHIA
		Let me look at my book.

She goes into the building.  He jumps out and follows her.

INT.  CINE GUN ASSESSING ROOM - DAY.

Nell is working alone, poring over charts.  They don't see her at first.

Cynthia goes to a drawer, unlocks it, takes out a diary.

			CYNTHIA
		Yes - should be possible -

She turns at a sound and sees Nell.

			CYNTHIA
		Ah - Finch.

Nell picks up her jacket to go.

			CYNTHIA
		Hang on, I need a word.

Nell stops at the door, very conscious of GK, who leans back, smoking.

			CYNTHIA
		About Lieutenant Johnson.

			NELL
		Yes?
			CYNTHIA
		Might be a good idea to belay that.  (Nell looks at her without replying.)  Let it go.

			NELL
		I'm sorry?

			CYNTHIA
		Lieutenant Granville-Kerr thinks it wiser for you not to see Lieutenant Johnson.

			NELL
		What's it to do with him?

			CYNTHIA
		He happens to be aware of -

			NELL
		It's none of his business.

Angry, she turns on GK.

			NELL
		It's none of your business!

He looks at Cynthia and shrugs.

			CYNTHIA
		It is mine.

			NELL
		What?

			CYNTHIA
		I am your Leading Wren.  You are my responsibility.

			GK
		Care of the troops.

			NELL
		(Furious)  You - can shut your mouth.

She goes out, slamming the door.

There is an enormous bang.

EXT.  OUTSIDE A HANGAR - DAY.

An ANSON has ploughed into the side of a hangar.  Cynthia, GK and Nell all join MATELOTS and POS running towards the plane.

EXT.  HANGAR - DAY - LATER.

The plane has been dragged back from the hangar and is burning.

The FIRE BRIGADE is there seeing to the fire.  MATELOTS stand around.  A CPO moves them off.

			CPO
		Get that bowser out of the way!

			MATELOT
		(To his OPPO as they walk away)  Somebody said there was a Wren on board.

INT.  CAMP HOSPITAL - DAY.

Nell walks along the ward.  June is at the end.  She has two black eyes, her nose is swollen and both arms are bandaged.

			NELL
		Crikey!

She gives June a drink from a medical flask with a glass straw.

June looks up at her.  

Nell turns away, avoiding her eyes, takes out June's spongebag from a carrier and a brown paper bag.  She pinches a bowl from the next bed.

			NELL
		(Decanting plums from the paper bag)  Plums.

She fiddles about putting them on June's locker, then moving them back and putting June's glass so that she can reach it, then looking down at June's arms, seeing the stupidity of that, leaves it.

			JUNE
		(Speaks with difficulty)  Robin?

			NELL
		(Covering)  I'll find out.

June looks up at her and sees from her face that Robin is dead.

EXT.  LONDON - RITZ HOTEL - DAY.

INT.  RITZ HOTEL DINING ROOM - DAY.

Cynthia and her MOTHER, ROSE, are waiting for GK.

			CYNTHIA
		So.

			ROSE
		Yes.  Well.

			CYNTHIA
		What do you think?

			ROSE
		Darling - there's nothing there.  Second son.

			CYNTHIA
		Yes but -

			ROSE
		No title.  And no money.

Cynthia's attention is diverted.  GK is weaving across the floor towards them.

			ROSE
		And he drinks.

			CYNTHIA
		(Sotto voce as he approaches)  His brother's a pansy.

			ROSE
		Ah.

Her expression changes.  She puts out a be-ringed hand to GK.

			ROSE
		Johnnie - lovely to see you.

EXT.  CAFE - WADEBRIDGE - DAY.

INT.  CAFE - DAY.

Hugh and Eileen sit across from each other.

			EILEEN
		Bugger that for a laugh!  You should have said you were married!

TWO LADIES at the next table put their cakes down.

			HUGH
		I'm sorry, love.

			EILEEN
		Slipped your mind, I suppose.  Thanks very much - now I'm right in it - up the creek without a paddle and nowhere to swim to.

Silence.

			HUGH
		(Timidly)  What are you going to do, love?

She gets up, tips his plate of baked beans on toast in his lap and goes to the door. 

The two ladies watch her, open-mouthed.

Hugh, embarrassed, rises.

			HUGH
		(Calls)  If you need any money...

But the door slams.  He smiles weakly at the ladies.

EXT.  THE AIRFIELD - DAY.

A PLANE comes in to land, too fast.  It nose dives.

The CRASH WAGON screams towards it but the PILOT jumps out, sprints out of range of the plane, for safety, with a cheerful wave.

EXT.  CABIN BALCONY - DAY.

June, one arm still bandaged, looking out to sea.

Bunny sticks her head out.

			BUNNY
		You all right?

June nods.

Bunny goes inside.

Nell comes out.

			NELL
		Got you a magazine.

She sits.  They look out to sea.

			NELL
		Well...

			JUNE
		Well...
			NELL
		(Thoughtfully)  Yeah...

Pause.

			NELL
		Look, he couldn't have been a very good pilot.

They gaze out to sea.

			JUNE
		His father's a vicar.

			NELL
		Yeah?

			JUNE
		And he's an only child.  (Nell seems unimpressed.)  Think of his poor mother!

		I mean...

			NELL
		Yeah.

They gaze out to sea.

			NELL
		Tell you something else.  See that seagull?  One leg.

Their POV: Hopping along the rail of the next balcony is a ONE-LEGGED SEAGULL.

Nell and June watch it thoughtfully - and begin to laugh.

Behind them, through the French windows, Bunny can be seen reacting.  She grabs wild flowers from a vase.

Nell and June can't stop laughing.

Bunny rushes out onto the balcony - throws water from the vase over them - and rushes inside again...

			NELL
		Hey!

Nell and June look round.

			NELL
		Bunny.

June nods.  She is too depressed to react.

			NELL
		What's wrong with her?

June shrugs.  She takes the chain from around her neck.

Close on:  Chain.  There are five engagement rings strung on it.

She picks out Robin's - and throws it over the balcony into the sea.

			JUNE
		Second this year.

			NELL
		Ditto.

			JUNE
		Is that why you're going out with Peter Johnson?

EXT.  THE BEACH - DUSK.

A secluded cove.  

Nell and Peter Johnson are making love.  He has his hands around her neck

			PETER JOHNSON
		Bloody fucking Nazis...

She struggles and gets free enough to slap him in the face.

He lunges at her and strangles her in earnest.  There's nothing she can do.  He's too strong.

Then he stops, rolls off her and starts to weep.

Slowly, Nell gets her breath back.

Peter Johnson weeps uncontrollably.

She cuddles him.

Archival footage.  Fleet Air Arm planes on Addles - practising landing on an aircraft carrier.  Some crashes.  One goes in the water.

INT.  ENTRANCE TO WRENS' QUARTERS - DAY.

Nell, hurrying in, passes June and Bunny - sitting side-by-side in the hall.

She runs upstairs without seeing them.

EXT.  THE COTTAGE - DAY.

Al, the American Colonel, comes downstairs, tying his tie.
Barbara has a large tray of coffee waiting for him.

			AL
		(Southern accent)  Baby - you sure know what a man needs.

			BARBARA
		(Mock Yank)  I sure do.

She sits him down, kisses him lightly - pours coffee for him.

He drinks.  Leans back - lifts a package.  She looks enquiry.

			AL
		Hershey bars, for the girls.

			BARBARA
		Lovely.

			AL
		But for you, Princess, something a little special.

He fishes in his pocket - takes out a blue velvet case, opens it.  Inside is a diamond solitaire.  Al gets on one knee.

			AL
		Princess - will you do me the honour of becoming my wife?  I can promise you fidelity, funds and a high old time - you can bet your life on that.

			BARBARA
		(Delighted with the size of the diamond)  Al! - Al!!

She lets him put the ring on her finger.  They kiss.

			AL
		Never thought I'd win a true blue English gentlewoman - it's always been my dream, ever since I read Ivanhoe at school.

			BARBARA
		Darling...

They embrace.  Her arms around his neck she inspects the ring.  We draw back from them.

			BARBARA
		Will we live in New York?

			AL
		Sure.  And Florida in the winter - maybe Palm Springs.  You'll love it.

Barbara's cup is full.  She lets him fiddle about with her.

EXT.  CLIFFTOP - DAY.

Eileen and Wheat of Cream sit together.  He is holding her hand.

			WHEAT OF CREAM
		I'd no idea, Eileen, no idea at all.

			EILEEN
		No, well, I didn't want to pester you.

			WHEAT OF CREAM
		Pester me?!

He groans and kisses her noisily and inefficiently.  She extricates herself.

			EILEEN
		So - are we engaged then?

			WHEAT OF CREAM
		Oh yes!

			EILEEN
		Only I need to - I'd like us to get spliced - you know - (she looks at his grinning ugly mug) - I don't think I can wait, Nigel - (she gags, but gets it out) - I'm crazy about you - ouf!  (As he grabs her so that her legs go in the air.)

EXT.  GARDEN OF WRENS' QUARTERS - DAY.

Bunny and June are sitting in the garden side-by-side, without speaking.

INT.  ASSESSING ROOM - DAY.

Tea break.  Barbara, Eileen, Nell and WRENS #1 and #2.  Cynthia is showing off her engagement ring.  Olive stands apart.

			BARBARA
		That makes two of us!

She flaunts her ring, which is bigger than Cynthia's.

			BARBARA
		What do you think?

			CYNTHIA
		If you like ostentation.

			EILEEN
		Oh dear.

She displays her hand, showing off a very modest ring.  The girls shriek.

			GIRLS
		Eileen!  You devil!  You're a dark horse!  Hey!

Nell and Eileen exchange a glance.  Nell shrugs enquiry, she knows about the pregnancy.

			EILEEN
		Nigel.

			CYNTHIA
		(Frowns)  Nigel?

			JUNE
		Wheat of Cream.

			OLIVE
		Sub-Lieutenant Trotter.

			CYNTHIA
		Really?

She turns to Eileen.

			CYNTHIA
		Wouldn't you be more comfortable with Other Ranks?

			EILEEN
		What?

			NELL
		She means you're not Officer Class.

Eileen is humiliated.

			CYNTHIA
		Still - horses for courses -

Nell and Eileen turn on her dangerously but are deflected by a groan from Olive, who is looking at a newspaper.

			CYNTHIA
		Bad news?

Olive shows Cynthia the paper.

June and Barbara enter the frame, curious to look at the newspaper.

ON:  Newspaper.  The headlines are about Arnhem.

June and Barbara look over Olive's shoulder, reading the newspaper.

Olive thrusts it at them.

June takes the newspaper, reads, and sits down abruptly.

			CYNTHIA
		(To Bunny)  Take her back to quarters.

Bunny takes June out - still clutching the newspaper.

			OLIVE
		Perhaps she should stick to ground crew.

Barbara spits at Olive in the face.

INT.  ENTRANCE HALL AND CORRIDOR - DAY.

June is sitting on a bench in the entrance hall.

Bunny, sitting next to her, squeezes her hand.

June nods imperceptibly but doesn't let go of Bunny's hand.

Bunny sits there, holding June's hand.  She reads about Arnhem in the paper.
The news affects her.

She gets up and crosses to the rack on the wall to see if she has mail.

ON:  Her mailbox, marked "B. Fisher", there is a folded piece of paper.

Bunny pulls out the paper and opens it.

ON:  Message "Please ring home."

INT.  ENTRANCE HALL, CORRIDOR AND PHONE - DAY.

At one end of the corridor is a public phone.  

Bunny is on the phone.  Her face shows no emotion.

			BUNNY
		(Into phone)  All right.  Goodbye.

She puts the phone down.  Stands thoughtfully for a moment, and then walks down the corridor, past June in the entrance hall, and up the stairs.

			JUNE
		Bunny?

			BUNNY
		(On the stairs, turns politely)  Rory's dead.

			JUNE
		Your young brother?  I thought he had a shore job.

			BUNNY
		(Matter of fact)  Food poisoning.

We follow her upstairs.  She goes into the cabin and closes the door.

INT.  ENTRANCE HALL - DAY - LATER.

June has left.  Wrens #1, #2 and #3 are looking at the notice-board and chatting.

			WREN #1
		Oh, good, a letter from Ian.

			WREN #2
		I thought you'd ditched him.

			WREN #1
		Yes but he doesn't know yet - wow!

As Wren #3, having opened her parcel, displays the contents.  There are four, plump, home-made pork pies.

A noise makes Wren #1 look up.

Her POV:  Bunny, having made a rope of sheets, tied one end around her neck, the other to a railing - jumps from the landing and breaks her neck.

The Wrens scream.

EXT.  LOCAL CHURCHYARD - DAY.

Bunny's funeral is in progress.

Her MOTHER, tall, stands in black, with a face veil.  She has a permanent tremor.

The CHAPLAIN is reading over the grave.  Behind him are Wrens #1, #2, #3, Nell, June, Eileen, Barbara, Cynthia, Olive, the Captain, the Commanding Officer, the Gunnery Officer, 6 Matelots, 4 Petty Officers, 4 Chief Petty Officers, First-Officer Pardy-Smith and SECOND-OFFICER BRANDON, a comely, dark-haired woman in her thirties.

			CHAPLAIN
		...in the midst of life we are in death...

			BARBARA
		(Mutters)  You can say that again!

EXT.  LOCAL CHURCHYARD - DAY - LATER.

The Funeral Party straggle away from the graveyard.

Nell, June, Barbara, Eileen, Cynthia and Olive approach Bunny's Mother.  But she stalks off alone.

Behind them the 6 Matelots pull away the gun- carriage along the gravel path.

EXT.  AERIAL VIEW OF COUNTRYSIDE - DAY.

A SQUADRON OF CORSAIRS on exercise.

Close in on Wheat of Cream, flying serenely.  Evasive exercises.  A collision.

Close-up of Wheat of Cream fighting the controls.  His aeroplane spirals, crashes in a field.

FARM WORKERS run towards the burning wreck.

INT.  LITTLE LOCAL CHURCHYARD - DAY.

Wheat of Cream's funeral service.  His coffin, with flowers, is before the altar.

The VICAR stands saying prayers.

In the congregation are Wheat of Cream's FATHER, who looks just like him, his MOTHER, an apologetic little woman in glasses, and his GRANNY, who looks like him and is gaga.  

In the congregation are Nell, June, Barbara and Eileen, who is fed up.  She looks across the aisle - lights on Lieutenant Commander Wise, smiles at him.  He is responsive.  Eileen's face is thoughtful.

ON:  Nell and June walking towards the church gate.

Their POV:  A tall CANADIAN CAPTAIN is standing at the gate.  He has a searing red scar on both cheeks - and leans on a walking stick.

			TEX
		Nell!

Nell turns, looking for the owner of the voice.

			NELL
		Tex!

Tex recognises her and starts to limp towards her and June.

			TEX
		(Fondly)  Hi, kiddo.

INT.  VILLAGE CAFE - DAY.

Nell and Tex are sitting at a small, round, tablecloth-covered table, having tea.  His knees are as high as the table.

Nell refills his teacup.

			NELL
		And they're OK?

			TEX
		Sure.  Skip, Joe, McBride, Big Jim.  Captain Burroughs bought it.

He drinks the tea - for good will.

EXT.  THE HARBOUR - DAY.

Nell and Tex are sitting on the harbour wall.

Sound of planes.  They look up.

Their POV: Coming into view is a SQUADRON OF CORSAIRS.  They look splendid, glinting in the sun.

			NELL
		Oh look!  Corsairs!  The squadron!

INT.  ENTRANCE HALL - WRENS' QUARTERS - NIGHT.

Nell is sitting on the bench with Tex.  Barbara, Eileen and June are facing them.  Nell is introducing Tex.  Barbara shakes his hand, followed by Eileen and June.

			NELL
		Barbara...Eileen.  You've met June.

June smiles at Tex shyly.

Cynthia passes by.

			NELL
		Cynthia, this is Tex McGregor, Fourteenth Field.  They went in on D-Day plus two.

Cynthia shakes his hand and smiles.

			CYNTHIA
		And forgot to duck, I see.
She smiles again.  They watch her go.

			BARBARA
		Butter wouldn't melt.

			EILEEN
		Piss'd etch glass though.

The girls laugh.

Tex rises, ushers Nell out of the door and nods farewell.

June looks after them.

INT.  THE PUB - NIGHT.

Nell and Tex are sitting at a table.

			TEX
		So, what do you know, kiddo?

She looks up from her plate and smiles at him.  He watches her eat fondly, moves his plate aside and fishes in his pocket.

			TEX
		You like travel?

			NELL
		(Smiles)  Depends.

He leans over the table.

			TEX
		I thought of you a lot.  Your family.  Best billet I ever had, the farm - just like home.

He reaches out and grabs her hand.

			TEX
		How about it, kid?

He takes a small box out of his pocket and pushes it across the table.

She opens the box.

Inside is a ring with an enormous sapphire and two large diamonds.

			NELL
		Is this real?

			TEX
		I got it in Antwerp.

His expression is veiled.  He has looted the ring.

He makes to put it on her finger.

Peter Johnson looms over the table and grabs Nell by the wrist, forcing her to her feet.

Tex is startled - then rises, ready for a fight.

			NELL
		Tex - don't!

But Tex slams Peter Johnson against the wall.

Peter Johnson picks up a bottle and clouts Tex, who staggers, dazed.

As PEOPLE move to help him up, Nell takes Peter Johnson by the arm.

			NELL
		It's all right.

			PETER JOHNSON
		Bloody Nazis!

			NELL
		Come on.

She hauls him towards the door.

			PETER JOHNSON
		Where are they?

He lurches away from her, fetches up at the counter where there is a small ham and a carving knife and fork.

			NELL
		No - no knives!

Tex comes at Peter Johnson.

Nell stops him.

			NELL
		I'll see to it.

			TEX
		The guy's nuts!

He is still dazed.

Nell beckons to June, who leads Tex away.

INT.  COTTAGE BEDROOM - NIGHT.

Peter Johnson makes love to Nell.  He is rough.

			NELL
		No...no, Peter...no...please!

He glares down at her, muttering.

			PETER
		Kill 'em - kill the fuckers - burn 'em - burn 'em - oh Christ, oh Christ, oh Christ...

EXT.  CLIFFTOP - DAY.

It's a beautiful day.  Pan down from a sky filled with fluffy clouds.

Tex and June are walking along the clifftop.  Nell walks ahead of them, alone.

			JUNE
		...and then Bunny, a girl in our cabin, killed herself...

			TEX
		Why'd she do that?

EXT.  ROCKS - CLIFFTOP - DAY - LATER.

Tex and June are sitting on a rock on the clifftop, overlooking the sea.

Tex looks at June's gentle face.

			TEX
		You're a good friend to Nell, June.

			JUNE
		Nell's a good friend to me.

He rises, helps her up awkwardly.

			JUNE
		Do they hurt, your legs?

			TEX
		Only when I think.

She laughs.  He looks at her with pleasure.  She gazes up at him shyly.

INT.  ENTRANCE HALL - WRENS' QUARTERS - DAY.

Nell, June, Eileen, Barbara, Cynthia and Olive are listening to the radio giving news of the war.

It is good news.

(Radio archive.  Alvar Riddell reporting that the Americans have crossed the Rhine.)

June smiles across to Nell.  Nell smiles back.

June notices weals on Nell's neck.

EXT.  THE HOTEL GARDEN - DAY.

Nell and June are walking together in the garden.  

June stops walking.

			JUNE
		You've got to stop it.

			NELL
		How?

INT.  SICKBAY - DAY.

A small office.  The MEDICAL OFFICER is seated at his desk.  Nell is seated opposite him.

			NELL
		He is mad, sir.

			M/O
		(Coldly)  I think you must allow me to be the judge of that.

			NELL
		I'm afraid he'll kill me.

			M/O
		The answer is simple.  Don't see him.

			NELL
		I've tried.

			M/O
		And?

			NELL
		He takes me by force.

The M/O, despite himself, reacts.  He looks away.

			NELL
		Half the time he thinks I'm the Nazis.

			M/O
		I'll see that he gets some sedatives.

He rises and ushers her politely to the door.

			M/O
		Lieutenant Johnson is a very distinguished officer.

Nell looks at him.  Her gaze is challenging.

He drops his gaze.

INT.  THE NAVAL CHAPEL - DAY.

A small Methodist type chapel.

Nell sits in a front pew alongside the CHAPLAIN.

			CHAPLAIN
		It sounds dreadful.

They sit in silence.

			CHAPLAIN
		(Clears his throat)  Lieutenant Johnson, you know, is a...

			NELL
		Very distinguished officer, yes I know.  He's also ill.

The Chaplain is lost.  He rises.

			NELL
		(Looking up into his face)  And dangerous.

Nell leaves the pew.

			CHAPLAIN
		Something should be done.

Nell walks down the nave.  

The Chaplain follows.

			CHAPLAIN
		I'll pray for you both.

He clears his throat again.

			CHAPLAIN
		Are you his fiancée?  As such.

			NELL
		As such.

She gives him a look of dismissal and goes.  The outer door clangs.

The simple chapel window is transformed to a beautiful, small, stained-glass window.

INT.  THE LOCAL CHURCH.  DAY.

A surge of organ music.

Before the altar of the village church.  

The VICAR'S POV: Eileen and Lieutenant-Commander Roy Wise, newly-wed, exchange a kiss.  

Behind them, a congregation of Wrens, Officers and Eileen's MUM and DAD, smiling proudly.

The Vicar smiles happily at the newly-weds, and they proceed down the aisle.  

Nell and Eileen exchange a smile.  

Barbara whispers in Nell's ear.

			BARBARA
		Why'd she pick Packing a Parcel?

			NELL
		To spite Cynthia.

Barbara looks enquiry.

			NELL
		He outranks GK.

Barbara laughs out loud, making heads turn.

A surge of organ music as the girls file out behind the other guests.  

Nell, last out, looks worn and troubled.

INT.  REGULATING OFFICE - DAY.

The Wrens' Regulating Office is large with notice-boards, tomes of regulations, a large desk with a telephone.  Through the glass we see through to the connecting room where TWO WREN WRITERS (Clerks) work at typewriters.
At the desk sits Second-Officer Sylvia Brandon.  She is working, looks up at a knock.

			S/O BRANDON
		Come.

Nell comes in behind a LEADING WREN ADMIN.

			LEADING WREN
		Wren Finch, ma'am.

			S/O BRANDON
		Right - thank you.

The Leading Wren goes.  

S/O Brandon looks at her file, looks up.

			S/O BRANDON
		It's Elizabeth Finch, yes?

			NELL
		Yes, ma'am.

			S/O BRANDON
		At ease.

A little later.  Nell is now seated across from the S/O.  Who is looking at her soberly.

			S/O BRANDON
		I do see, yes.

S/O Brandon sits back, thinking, then:

			S/O BRANDON
		Are you in love with Lieutenant Johnson, Finch?

			NELL
		I don't know.  He is my first lover.

			S/O BRANDON
		Then surely...

			NELL
		He didn't give me much choice.

			S/O BRANDON
		Are you saying he raped you?

Nell looks at her.

			S/O BRANDON
		And he is persistently violent?

Nell bares her neck, showing the weals.  

S/O Brandon is shocked.  She gets up and looks out of the window.

			S/O BRANDON
		Well, I can't move him.  But I can move you.

S/O Brandon turns to face Nell.

			S/O BRANDON
		There's a draft coming in...

			NELL
		How soon?

S/O Brandon sees the fear in Nell's face.

			S/O BRANDON
		I'll see what I can do.  Meanwhile, do remember...

			NELL
		That he's a very distinguished officer.

			S/O BRANDON
		(Smiles)  I was going to say that I'm always here.  Even distinguished officers aren't allowed to pick off my Wrens.

EXT.  THE VILLAGE CHURCH - DAY.

Barbara and her Colonel emerge under an archway formed by Subbies on one side, YANKEE FLYERS on the other.  

Barbara looks sensational in beige and red, with a flashy hat.

Subbies and Wrens, including June, Nell, Barbara, Cynthia and Olive, close in, throwing confetti.

A little later.  Barbara and the Colonel stand for a formal photograph on the church steps.  The confetti swirls.

EXT.  THE CLIFFS - DAY.

It's a windy day.  Nell, alone, walks along the cliff path, deep in thought.

EXT.  ANOTHER PART OF THE CLIFFS - DAY.

Nell picks a twig.  Then she wanders along the cliff edge, gently swishing the twig.

Something catches her attention.

She climbs to slightly higher ground.

Her POV:  Below her, sitting on a rocky outcrop, is Peter Johnson.

Below him is a long drop to rocks and crashing waves.

Nell panics.

She runs, slides and slithers down towards him.

			NELL
		Peter!

Gulls fly up.

He turns.

Nell stumbles down to him.  She grabs and enfolds him.

			NELL
		What are you doing?

He seems confused.

She strokes his head.

Above them, AIRCRAFT climb and wheel and dive noisily against the sound of the sea on the rocks.

INT.  REGISTRY OFFICE - DAY.

A plain, wood-panelled room, dull curtains at the window.

Nell and Peter Johnson stand before the REGISTRAR, who stands behind the table. 

Behind them Tex and June stand as witnesses...behind them rows of empty chairs.

Peter Johnson thrusts the ring onto Nell's finger so that she winces.

The Registrar moves forward, startled.

INT.  PUB - DAY.

Nell and Peter, Tex and June sit, having a celebratory drink after the wedding.

			TEX
		Here's to you both.  I mean it.

He lifts his glass.

He and June exchange a loving glance - she lifts her glass.

Peter Johnson tries to crack a smile.

He looks at Nell.  She takes his hand.

A little later.  Nell and Peter get up, nod goodbye and go.

			TEX
		So, little June?

			JUNE
		So, big Tex?

He kisses her gently.  She looks up at him, in love.

EXT.  BALCONY OF WRENS' QUARTERS - DAY.

Nell and June are sitting on the balcony.

Nell is throwing bread for the seagulls.

June is clasping her knees.

			JUNE
		But if you tell them you're married you can apply for the allowance.

			NELL
		I didn't get permission.

			JUNE
		What can they do?

			NELL
		They wouldn't let me stay, for a start.  Married couples not allowed on the same camp.

			JUNE
		But you can do as you want!  As a married woman you'd be out of the navy...

			NELL
		I don't want to be out of the navy.

			CYNTHIA
		(Offscreen)  Finch?

Nell turns as Cynthia comes on to the balcony.

			CYNTHIA
		Regulating Office, at the double.

Nell picks up her cap.

INT.  REGULATING OFFICE - DAY.

Nell comes in.  

First-Officer Pardy-Smith is sitting at the desk.  Second-Officer Brandon is at her side.

			PARDY-SMITH
		Sit down, Finch.

Nell sits.

			PARDY-SMITH
		Are you married?

			NELL
		(Slight pause)  Yes, ma'am.

			PARDY-SMITH
		What was the date of your marriage?

			NELL
		Two weeks ago.

			PARDY-SMITH
		(Takes a paper from Brandon)  You are down on Lieutenant Johnson's papers as his next of kin.

			NELL
		I'm sorry.  I know I should have gone through the proper procedures.  (Slight pause)  Is he dead?

Pardy-Smith looks up.

			PARDY-SMITH
		What makes you say that?

They exchange a long glance.

			PARDY-SMITH
		Lieutenant Johnson has made a serious attack on a Wren - (consults her notes) Wren Olive de Lignes.

Nell tries to say something but her voice is thick.

			NELL
		He doesn't mean it...he's not himself...what did he - did he - ?

She waves a hand - defeated.

			PARDY-SMITH
		Apparently, he went into the Wrens' Quarters asking for you.  It seems that Wren de Lignes made a comment about you.

			BRANDON
		So he attacked her.

			NELL
		(Gasps)  Ohh!  (Slight pause)  Did he - try to strangle her?

Pardy-Smith and Brandon exchange a glance.

			BRANDON
		Yes, he did.

			PARDY-SMITH
		Do you know where he is?

Nell gazes at them.  

She jumps up quickly, making the chair fall over with a crash.

The women rise.

			BRANDON
		Finch!

But Nell is hurtling out the door.

EXT.  THE COTTAGE - DAY.

Nell runs out.  He is not there.  A UTILITY VEHICLE (tilly) driven by a RED-HAIRED SUB-LIEUTENANT, arrives, followed by a 15 HUNDRED WEIGHT TRUCK, containing TWO MATELOTS.

Nell shakes her head - letting them know that Peter Johnson is not there - and jumps into the tilly.

Series of shots - The search for Peter Johnson.

EXT.  CLIFFTOP AREA - DAY.

A 15 hundred-weight truck is parked.  SIX MATELOTS are spread out - searching the area.

EXT.  MOVING TILLY - ANOTHER PART OF THE CLIFFTOP - DAY.

The tilly containing Nell and the red-haired Subbie driver, bumps along the cliff path at speed.

They are being followed by a SECOND TILLY driven by a RATING - with a LIEUTENANT in the passenger seat.

ON:  Nell in the passenger seat.

She grabs the Subbie's arm.  He brakes.

Nell jumps out.

The second tilly stops behind them and the Lieutenant and the Rating jump out.

They and the Subbie follow Nell - who is running on ahead, along the cliff top.

ON:  Nell.  She reaches the place where she found Peter before.  She looks down.

Her POV:  Peter Johnson is sitting on the rocky outcrop.

			NELL
		Peter!

Peter looks up.

Her POV:  Nell is joined by the Subbie, the Lieutenant and the Rating.

Peter stands up.

			NELL
		I'm coming down!

Nell begins to slither down the cliff.

Peter Johnson looks up at her and lifts a hand, briefly.

Then he steps backward into the air.

A chorus of "No!" from the onlookers blends with the sound of the sea and the gulls.

INT.  LOCAL CHURCH - DAY.

Church bells toll.

ON:  Peter's coffin, which is covered in white flowers.

The CONGREGATION sings "Eternal Father".

The Congregation includes: Nell, Nell's father, Peter's FATHER and MOTHER and YOUNG SISTER, the Captain, the C/O, two Lieutenants, First-Officer Pardy-Smith, Second-Officer Brandon, Cynthia, June, Eileen, Olive, Barbara, the Rating, the Gunnery Officer, five Petty Officers, five Chief Petty Officers and Chief Petty Officer Reg, ten Sub-Lieutenants and twenty Matelots.

EXT.  THE LOCAL CHURCH - DAY.

Church bells toll.

The Vicar leads as the coffin is borne out of the Church on the shoulders of eight Matelots.

Nell follows with her father, Peter's father and mother and young sister.

Behind them come the rest of the congregation.

EXT.  THE CHURCHYARD - DAY.

Church bells toll.

The congregation are gathered around the grave-side.

Above them, high in the sky, AIRCRAFT wheel.

			VICAR
		Ashes to ashes, dust to dust...

EXT.  THE CHURCHYARD - DAY - LATER.

The coffin is lowered.

ON:  Nell standing at the grave's edge - numb.

The Church bell stops tolling.

A little later.  The mourners are leaving the churchyard.

Nell sees GK approach, moves away from Barbara and Eileen to avoid him.  But he approaches her and stands before her, gently sad.

Cynthia approaches.

GK shrugs apologetically and goes off to the calmly waiting Cynthia.

Nell looks after him with pity.  He looks thin and pale and done in.

INT.  THE ASSESSING ROOM - DAY.

Cynthia, Olive, Nell, June, Eileen, Barbara and Wrens #1, #2 and #3 are working at the tables.

Nell straightens up and blows out her cheeks with fatigue.  
She catches Olive's eye.  Olive looks odder than ever.

			NELL
		Olive?

Olive looks at her, doesn't answer.

			NELL
		What's up?

But Olive shakes her head.  She looks spooked - deranged.

Nell reacts, moves away.

EXT.  ASSESSING ROOM - DAY.

June and Nell are having a cigarette break.  They share a cigarette.

Nell looks up at the sky.

			NELL
		Quiet.

			JUNE
		Yeah.  It can't go on much longer.  (She takes a puff.)  The Aussie pilots say they're jacking it in the minute peace is declared.

			NELL
		(Aussie voice)  Too bloody right.  Bloody dangerous!

			JUNE
		Mad bunch.

			NELL
		Almost as mad as the Poles.

			JUNE
		(Laughs)  Yeah - the Poles!

			NELL
		The best.  In every way - (They laugh.)

		You going to Canada?

			JUNE
		(Smiles)  Can't wait.

Chiefie Lee looms into view.

			CHIEFIE
		'Morning, girls.

			NELL
		Hullo Chiefie.

			JUNE
		You look cheerful.

			CHIEFIE
		I've got something for you.

			NELL
		Bet you have!

			CHIEFIE
		(Dirty laugh)  There's a consignment of cheese over at the mess.

			JUNE
		Ooh!

They follow him.

EXT.  CHIEF PETTY OFFICERS' MESS AND AIRFIELD - DAY.

Chiefie, Nell and June are leaning against the wall in the sun, outside the CPO'S mess.  Airfield and aeroplanes can be seen in the background.

June carries the cheese and breaks off pieces for Chiefie and Nell.

			CHIEFIE
		No, they gave him a good send off, Finchie.

			NELL
		Yes.

			CHIEFIE
		The navy looks after its own.

		(He looks round)  Nice and quiet today.

			JUNE
		We're waiting for the new squadron.  (Points at Nell)  She's been working on combat films.  Miss Clever can identify any aircraft - theirs or ours - from a teeny blur.  Nell, I was telling Chiefie...

But Nell, eyes shaded, is looking up at the sky.

She points.

			JUNE
		What?

They look up.

Nell points.

Chiefie peers.

There is an AIRCRAFT, distant, approaching.

			CHIEFIE
		You've got sharp eyes.

			JUNE
		What is it?

			NELL
		I don't know.

			CHIEFIE
		Not one of our lot.

Their POV:  The DORNIER approaches swiftly.

			NELL
		It's a bloody Dornier!

			CHIEFIE
		What's it doing here!

The Dornier approaches.

			CHIEFIE
		I don't like the look of this.

The Dornier drops its bombs.

Noise of bombs exploding.

ON:  Smoke and flame.

KLAXONS wail.

The Regulating Office is on fire.

SIX MATELOTS and TWO WRENS run through the frame.

EXT.  CHIEF PETTY OFFICERS' MESS - DAY.

Klaxons wail.
Nell and Chiefie run towards the Assessing Room.

June runs behind them.

Smoke fills the screen.

EXT.  ASSESSING ROOM - DAY.

The Assessing Room is on fire.

Nell, Chiefie and June appear through the smoke, shocked.

			JUNE
		No -

A FIRE-ENGINE draws up.  FOUR FIREMEN jump out and prepare to fight the fire.

EXT.  ASSESSING ROOM - DAY -LATER.

The fire is out.

An AMBULANCE is parked outside the damaged building.

A group of Subbies, Matelots hang around.  MEDICAL ORDERLIES stretcher two wounded Wrens (#2 and #3) out into the ambulance.

Olive's body is laid out on the grass.

Nell stands looking down at her.

Pull back.  June sits nearby, looking at nothing.

Chiefie comes up.

			CHIEFIE
		Come away, girls.

Pull back above the trees.

We see the entirety of the Camp - and the countryside of Cornwall around it - beautiful and peaceful in the sun.

MONTAGE.  Scenes of celebration of V/E Day.  (Archival footage.)

INT.  THE MAIN HALL - DAY.

Pardy-Smith is lecturing the Wrens.

			PARDY-SMITH
		...and that was no excuse to jump ship.  Confined to quarters for ten days.

Wren #1 puts up her hand.

			WREN #1
		But isn't the war over, ma'am?

			PARDY-SMITH
		The war is most certainly NOT over.  From now on the efforts of flying training will be even more concentrated to supply our carriers in the Pacific.  I want maximum effort - from all of you.  And no slackening of resolve.  Do I make myself clear?

Murmurs of "Yes Ma'am."

			PARDY-SMITH
		The men are risking their lives daily.  You know that.  Do the best you can for them.  And for your country.

She nods to Cynthia.

			CYNTHIA
		On caps and dismissed.

The girls put their hats on, salute and go.

MONTAGE:  Archival footage of Hiroshima and Nagasaki.

Dissolve to:

EXT.  LONDON - DAY.

A London thoroughfare.  RED BUSES, BLACK TAXIS, CARS OF 40S MAKE.

Pull down and over to:

EXT.  GRAND LONDON HOTEL - DAY.

Chiefie, now dressed in the uniform of a Hotel Doorman, is standing outside the hotel chatting with Nell - now in civilian clothes.

Traffic noise as we close in.

			CHIEFIE
		How's that little June?

			NELL
		Homesick.

			CHIEFIE
		Yeah?

			NELL
		Says Canada's boring.

			CHIEFIE
		I've heard that.  She got kiddies?

			NELL
		Two boys.

			CHIEFIE
		What about you?

			NELL
		A little girl.  Lucy.

A bang!

They jump, Chiefie shields Nell as they automatically flatten themselves.

They get up, laugh, embarrassed.

A YOUNG MAN has thrown a crate from the back of a LORRY.

He tosses another crate onto the pavement.  Despite themselves, they wince at the noise.

			CHIEFIE
		Excuse me.

Chiefie passes by Nell and opens a car door.

A GRAND LADY steps out.

He salutes.

She tips him.

The grand lady passes into the hotel.

Chiefie returns to Nell, waving a ten shilling note.

			CHIEFIE
		Not bad, eh?

			NELL
		Chiefie, you must be rolling!

CHIEFIE flicks a look up at the hotel.

			CHIEFIE
		Better than pusser's rations...hardtack and bully beef, eh?

			NELL
		You're not kidding.

They stand for a moment, unwilling to part, to let it go.

			NELL
		Well, force on regardless, eh?

She leans up and kisses him on the cheek.

They embrace for a long moment.

She goes abruptly.

			CHIEFIE
		(Calls)  Force on regardless!

He watches her walk away down the street, then takes up his position, rocking gently.

ON:  Nell, walking away down the street and disappearing among the traffic of London.

THE END