Studying is hard and boring. Teaching is hard and boring. So what you’re telling me is to be bored, and then bored, and then finally bored again, but this time for the rest of my life. This whole stupid country is bored. There’s no life in it, or colour, or fun. It’s probably just as well that the Russians are going to drop a nuclear bomb on us any day now. So my choice is to do something hard and boring, or to marry my . . . my Jew and go to Paris and Rome and listen to jazz and read and eat good food in nice restaurants and have fun. It’s not enough to educate us any more, Miss Walters.You’ve got to tell us why you’re doing it.
She has never had to answer this questions before.
HEADMISTRESS
It doesn’t have to be teaching, you know. There’s the Civil Service.
JENNY
I don’t wish to be impertinent, Miss Walters. But it is an argument worth rehearsing.You never know. Someone else might want to know the point of it all, one day.
JENNY leaves the office.
77 EXTERIOR: SCHOOL - DAY
JENNY is half-walking, half-running, towards the school gates. She’s scared, of course, but exhilarated, too. All that pressure, and all those years of education, suddenly over, unexpectedly, and certainly unceremoniously. She looks neither left nor right, but other girls, younger girls, watch her through the windows as she leaves. JENNY doesn’t even look round when she goes through the school gates.
78 INTERIOR: DANNY’S FLAT - NIGHT
DANNY, HELEN, DAVID and JENNY are in DANNY’S flat. DANNY has a large stuffed armadillo on his lap, which he is using as a ventriloquist’s dummy.The armadillo is at his ear, and DANNY makes a squeaking sound. The others are laughing.
DANNY
(to JENNY)
I think he likes you. Do you like her? . . .Yes, I do like her.You don’t remember? It’s Jenny. You remember her from last time. No, I don’t . . .Yes, you do. Naughty thing . . . Pardon? . . . That’s revolting! You stick to your own species. (whispers) He wants to kiss you, I think. Is that naughty?
DAVID
(suddenly, out of nowhere)
We’re engaged.
The atmosphere changes. JENNY looks embarrassed. HELEN and DANNY look at her, and she holds up her ring.
HELEN
That’s . . . Gosh. That’s fantastic news.
JENNY
Thank you.
DANNY isn’t so pleased.
DANNY
(cool )
Congratulations.
There is much chinking of glasses.
HELEN
I knew you’d see sense about university.
JENNY smiles.
You’ll stay pretty now.
Laughter from DAVID and JENNY.
JENNY
Can I still read?
HELEN
( firmly)
Yes, but it doesn’t have to be books, now does it? Magazines will do just as well. And you learn more from them anyway.
Laughter.
DAVID
Oh, Helen.
HELEN
You won’t be laughing, David, when she goes all speccy and spotty.
HELEN is bemused by their mirth. DANNY watches DAVID thoughtfully.
79 EXTERIOR: DANNY’S FLAT - NIGHT
DAVID and JENNY come out of DANNY’S flat and approach DAVID’S car.
JENNY
Danny didn’t seem very pleased about our engagement.
DAVID
I noticed that, too. I thought he might be a bit jealous.
JENNY
(trying not to be pleased)
Jealous?
DAVID
We’re going to keep him away from you.
They both smile. DAVID opens the door for JENNY and she gets into the car.
80 INTERIOR: JENNY’S HOUSE - EVENING
JENNY and MARJORIE are in the hall, all dressed up and waiting for DAVID to come and pick them up. JENNY looks great, as usual; her mother looks smart, if somewhat old-fashioned.
JACK comes in from the sitting room, pulling at his tie, looking apprehensive. He appears to be wearing Brylcreem. He looks like a little boy who has been made to put on his Sunday best.
JACK
I mean, what is one supposed to order as a starter, anyway? And how will I know what is a starter and what isn’t?
JENNY
We’ve been through this, Dad. It’ll be quite clearly marked on the menu.
The doorbell rings. JACK stiffens. JENNY goes to answer the door.
JACK
Can’t the three of you go on your own and leave me here? I’d be perfectly happy with a tin of salmon.
DAVID enters the room. He is relaxed, happy. He has worn a tie, possibly because he knew that JACK would wear a tie. JACK and MARJORIE exchange greetings.
DAVID
Ready? I think you’ll like this place, Jack. Their wine list is as good as anything I’ve seen in London.
JACK
Yes, someone told me that.
JENNY
David, probably. Who else would it have been?
81 EXTERIOR: STREET/JENNY’S HOUSE - NIGHT
JACK and MARJORIE approach DAVID’S Bristol.
DAVID
(holding the door for MARJORIE)
Madame.
JACK
I was hoping you’d take us in this.
DAVID
Oh, you won’t want to drive in anything else after tonight. Mind you, it drinks petrol. I’m afraid we’ll have to stop on the way in to town.
He opens the back door for his future father-in-law.
82 EXTERIOR: DAVID’S CAR - NIGHT
The Bristol drives away down JENNY’S street.
JACK
I feel like Eamonn Andrews.
DAVID
Is that a good thing?
MARJORIE
Eamonn Andrews is the poshest person that Jack can imagine being.
Everyone laughs.
83 INTERIOR/ EXTERIOR: DAVID’S CAR/ STREET - NIGHT
The Bristol cruises down a London road.
84 EXTERIOR: PETROL STATION - NIGHT
The Bristol pulls into the garage. DAVID gets out of the car as the attendant comes over.
ATTENDANT
How are you tonight, sir?
DAVID
Very well. Might as well fill her up.
DAVID leans in through the open car window.
I’m just going to make a quick call. I’ll be two ticks.
85 INTERIOR/EXTERIOR: DAVID’S CAR/ PETROL STATION - NIGHT
JENNY watches him walk towards the garage office.
JACK
Do you think I should offer to help pay for the petrol? Would he be insulted, do you think?
JENNY watches DAVID as he picks up the phone. He notices her and waves from behind the glass.
I know he said tonight was his treat, but does that apply to the petrol, do you think?
MARJORIE
I’m sure it does, Jack.
They lapse into silence. JACK starts to fiddle with the features in the car - a piece of the window handle snaps off in JACK’S hand, much to his alarm.
JACK
Oh, no.
MARJORIE
Jack!
JACK
It just came off.
JENNY opens the glove compartment, looking for the cigarettes that DAVID always keeps there. She finds the cigarettes and closes the glove compartment. But she has seen something in there, so she opens it again. She takes out some letters and papers and starts to look through them.
86 EXTERIOR: PETROL STATION - NIGHT
DAVID has finished his phone call and is walking towards the car.
DAVID
(to attendant)
Put it on my bill.
AT TENDANT
Thank you, sir.
He sees JENNY looking through letters and papers, sees the open glove compartment and leans in through the passenger window.
DAVID
(desperately)
J
enny!
It’s too late.We see JENNY’S stricken face, gleaming in someone else’s headlights.
87 INTERIOR/EXTERIOR: DAVID’S CAR/ PETROL STATION - NIGHT
DAVID gets into the car.
DAVID
Jenny, I . . .
JENNY
(as cold as ice)
Take us home.
JACK
What’s wrong?
DAVID
I’m afraid there’s been . . . Jenny’s had a bit of a shock.
JACK
What’s happened?
JENNY
It’s just another one of David’s little muddles and misunderstandings.
DAVID
I . . .
JENNY
I don’t want to hear another word from anybody. Take us home. NOW.
MARJORIE and JACK look at each other. DAVID swings the car round and they drive home in silence.
88 EXTERIOR: JENNY’S HOUSE - NIGHT
The Bristol draws up outside JENNY’S house. Everyone gets out of the car. JACK starts to walk towards the house and then stops.
JACK
(desperately)
You can take care of this, can’t you, David?
JENNY
Go inside, Dad.
JENNY and DAVID watch JACK and MARJORIE go into the house.The moment the door is closed, JENNY turns towards DAVID. She’s holding a bunch of letters that she took out of the glove compartment. She starts to go through them, one by one.
Mr and Mrs David Goldman, Mr and Mrs David Goldman, Mr and Mrs David Goldman . . . (thrusting an envelope angrily at him) You’re MARRIED!
DAVID
Legally, yes, but . . .
JENNY is distraught and tearful.
JENNY
When were you going to tell me?
DAVID
Soon. It just never seemed like the right time. You seemed so happy, and I was happy . . .
JENNY
You were living with your wife all this time
. . . round the corner. Byron Avenue! It’s no wonder we kept bumping into each other, then, is it? What number?
DAVID
Thirty-four.
JENNY picks out one of the envelopes and looks at it, as if to check he’s not lying again.
Don’t be like this. Come on.
JENNY
I have nothing. I didn’t take my exams. I - I left school. Where’s it all gone, now?
DAVID
I can get a divorce. Everything will turn out for the best.
We can see JACK and MARJORIE peering through the lace curtains anxiously.
JENNY
Go and tell them. Go and tell them, then go and tell your wife.
DAVID stands on the pavement, looking towards the house.
DAVID
They won’t listen now. I’ll come round tomorrow. When everyone’s feeling a bit calmer.
JENNY
(suddenly desperate)
Please don’t make me . . . Please don’t make me tell them on my own.You owe me that much.You owe them that much.
DAVID
(sadly)
I owe them much more than that.
He opens the boot. It’s full of cases of whisky. JENNY doesn’t even bother asking what they are doing there. DAVID takes one of the bottles.
JENNY
Two minutes. And then I’ll come out and drag you in.
JENNY marches into the house and slams the door.The camera stays on DAVID. He gets back into the car, opens the bottle and takes a slug of whisky.Then his shoulders begin to shake, and he starts to cry.
89 INTERIOR: JENNY’S HOUSE - NIGHT
JENNY stands in the hall, waiting, tears in her eyes. She walks into the sitting room. Her parents are sitting on the sofa looking at her anxiously.They haven’t put the lights on yet.
JACK
What’s going on?
JENNY
He’s helping himself to some Dutch courage before facing you. Stolen Dutch courage, from the look of it. He has something to tell you.
She sits down, pale and young-looking again, opposite her parents. Suddenly they are all three lit up by headlights. Shot from their point-of-view of the Bristol roaring off up the street.
JACK
He just drove off.
We close slowly in on JENNY’S face. But of course he’d drive off!
(pathetic)
Can you tell us? Jenny, please?
JENNY can’t deal with her own pain, let alone his. He already looks like a broken, foolish old man.They should hug. But they don’t.
90 INTERIOR: DANNY’S FLAT - DAY
JENNY is sitting on the sofa in DANNY’S flat. DANNY is in his dressing gown; there are newspapers strewn around. HELEN is sitting next to her, holding her hand.
HELEN
I wouldn’t worry about it too much. When I found out that . . .
DANNY
Not now, Helen.
HELEN shrugs and goes to get a drink.
I tried to tell him. I’m not speaking to him now, if that’s any consolation.
JENNY
(bitterly)
It’s a funny world you people live in.You both watched me . . . carrying on with a married man, but you didn’t think it was worth saying anything about it.
DANNY
Yes, well, if you want that conversation . . . You watched David and I help ourselves to a map, and you didn’t say much, either.
He holds JENNY’S gaze, HELEN joins him. JENNY looks down.
91 EXTERIOR: STREET/DAVID’S HOUSE - DAY
A suburban street, full of semi-detached houses, not far from JENNY’S house. JENNY walks down the road tentatively - she’s looking at the numbers on the houses. She looks young again - tired, no make-up, no elegant clothes. She can’t bring herself to wear anything that DAVID bought her.
She hesitates at the gate to the house, steels herself to walk up the path. But just at that moment the door opens; there’s a homely-looking woman, early thirties (SARAH). She is holding the hand of a four-year-old. JENNY is stunned.The woman holds the boy’s hand as they walk away from the house, then she stops in her tracks.
SARAH
Oh. Hello.
JENNY
(almost inaudible)
Hello. Sorry. I think I must have the wrong number.
The woman stares at her.
I was looking for my . . . cello lesson. I wanted . . .
She dries up and looks at the woman helplessly.
SARAH
Oh, no. Don’t tell me. Good God.You’re a child.
JENNY blushes. Beat.
You didn’t know about any of this. Presumably?
JENNY shakes her head.
No. They never do.You’re not in the family way, are you? Because that’s happened before.
JENNY shakes her head.
Thank God for that.
JENNY turns and walks away from the house.
(calling after her)
No, no.You stay here.
But JENNY heads off down the street.
92 INTERIOR: JENNY’S HOUSE - DAY
MARJORIE and JACK are in the kitchen. MARJORIE is smoking. Normal life has clearly been suspended during this crisis. JENNY comes in the front door and they both rush to the hallway.
MARJORIE
Did you see her?
JENNY
Yes, I saw her. I didn’t talk to her. There wasn’t any need.
JACK
We have to have this out. Well, if you won’t do it, I will. I’m still your father.
He grabs his coat.
JENNY
You’re my father again, are you? What were you when you encouraged me to throw my life away? Silly schoolgirls are always getting seduced by glamorous older men. But what about you two?
JENNY, exasperated, disappears upstairs, leaving JACK and MARJORIE not knowing what to say.
JACK storms into the sitting room and slams the door, leaving MARJORIE alone in the hall.
93 INTERI
OR: UPPER HALLWAY - NIG HT
JACK stands outside JENNY’S bedroom door with a cup of tea. He knocks tentatively.
94 INTERIOR: JENNY’S BEDROOM - NIGHT
Close-up of the floaty print dress that HELEN gave her. The dress is suddenly jerked out of shot, and we pull back to reveal a weeping JENNY stuffing it into an already full box of things she is throwing out.The contents represent her now-despised, DAVID-created adult self.We can see Juliette Greco albums, photos, expensive-looking jewellery boxes. She continues to stuff things into the box.There’s a knock on the door.