BBC TV PRESENTS

DEATH IS PART OF THE PROCESSSCREENPLAY BY ALAN PLATER FROM THE NOVEL BY HILDA BERNSTEIN PRODUCED BY TERRY COLES DIRECTED BY BILL HAYS

A BBC TV PRODUCTION IN ASSOCIATION WITH POLYMUSE AND W.W. ENTERTAINMENT

FILMED ON LOCATION IN KENYA and LONDON

DEATH IS PART OF THE PROCESSBY HILDA BERNSTEINSCREENPLAY: ALAN PLATTER PRODUCER: TERRY COLES DIRECTOR: BILL HAYS STARRINGART MALIK, JOHN MATSHIKIZA,JACK KLAFF, ESTELLE KOHLERTO BE SHOWN ON BBC1 9.05 P.M. PART ONE SUNDAY 28TH SEPTEMBER AND PART TWO SUNDAY 5TH OCTOBER

BBC TVINVITES YOU TO A FILM PREVIEW OF

DEATH IS PART OF THE PROCESSBY HILDA BERNSTEIN

SCREENING IN TWO 75 MIN PARTS AT 6.30 P.M. MONDAY 15TH SEPTEMBER AT THE PRINCESS ANNE THEATRE, B.A.F.T.A. 195 PICCADILLYR.S.V.P. ROOM 5017 BBC TELEVISION CENTRE, WOOD LANE, W.12.TELEPHONE: 01-576 1704

“DEATH IS PART OF THE PROCESS”

Screenplay by ALAN PLATER

From the novel by HILDA BERNSTEIN

Music by JIM PARKER Directed by BILL HAYS

Produced by TERRY COLES

A BBC TV co-production

in association with Polymuse/World Wide Entertainment.

1

“DEATH IS PART OF THE PROCESS”

Hilda Bernstein’s prize-winning novel about South Africa in the early 60’s is a work of fiction but grounded in her own personal knowledge of the struggle against apartheid. Hilda and her husband Lionel ‘Rusty’ Bernstein, were both arrested by the authorities for anti-government activities, ie - support for the African National Congress. Rusty stood trial alongside Nelson Mandela in '63 in the infamous “Rivonia” case. Mandela is still in prison, Rusty was temporarily released on a technicality. Immediately the Bernsteins fled the country - an escape most graphically described in her book “The World That Was Ours” . After returning to the UK she wrote “Death Is Part Of The Process” as a thriller with a political background. In 1982 it won the Sinclair Award and the BBC acquired the rights to film it as a co-production with Polymuse/World Wide Entertainment.

Most of the principal photography took place in and around Nairobi, Kenya, starring Art Malik who made such an impression in “The Jewel In The Crown” and “Passage To India” and South African actors John Matshikiza, Estelle Kohler, Jack Klaff, Moira Downie and Louis Mahoney.

The Director and Producer and Bill Hays and Terry Coles whose most recent BBC film “Time After Time”, starring Sir John Gielgud, won the Golden Gate award in the San Francisco Film Festival.

The screenplay of “Death Is Part Of The Process” is by top dramatist Alan Plater whose many credits include the adaption of Anthony Trollope's “Barchester Chronicles" (BBC TV) BAFTA nomination Best Series, “Orwell on Jura” (BBC TV) BAFTA nomination Best Play and “The Beiderbecke Affair” (YTV) and “Edward Lear” (BBC TV) for which he was awarded the 1985 prize by the Royal Television Society.

He has just finished the screenplay for “Fortunes of War", a major BBC TV series based on Olivia Manning’s books “The Balkan Trilogy” and “The Levant Trilogy” .

Set in the early 60’s “Death Is Part Of The Process” adapted from Hilda Bernstein’s gripping thriller, tells the story of a mixed group of South African dissidents involved in early attempts of sabotage, and particularly that of INDRES, a young Indian student, and how his life and that of others involved is affected by their opposition to a repressive regime.

INDRES joined the group while he was at university. Among the other members and supporters are the two black Africans, THABO, strong-willed, serious, a leader; and SIPHO, life-loving and passionate about everything, particulary their fight but also women and brandy; DICK the white lecturer; MARGIE, his wife who becomes drawn in by events; PILA a well-off white girl who runs a bookshop where THABO works, and JOHN and ROSA MILLER, long-time committed rebels against the system.

Thwarted in their search for peaceful change the group begin blowing-up power lines, railways and government offices. Soon INDRES is arrested and learns that the Special Branch know enough to defuse any of their efforts once the initial shock of the first few bombings recedes. He escapes from prison and attempts to track down THABO to warn him of the “leak” in the system. As one by one the unit are picked up under the “Ninety Day Act” THABO disappears to ressurrect himself as Reverend Thumalo running a church in one of Jo’burg townships, but the net closes in.

2

“PRINCIPAL CAST LIST”

Indres....... . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . ART MALIKThabo....... . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. . .. .. . .. .. . .. .. . .. JOHN MATSHIKIZASipho........ . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . LOUIS MAHONEYDick Slater...... .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. . .. .. . JACK KLAFFMargie Slater...... . .. .. . .. .. . .. .. . .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . ESTELLE KOHLERPila Norval..... .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. MOIRA DOWNIEKabelo....... . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. . .. .. . .. .. . .. .. . .. .. . . NATHAN DAMBUZAMr Norval..... .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. . .. .. . . JOHNWOODVINEMrs Norval..... .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. BRENDA PETERSRalph Stern...... .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. ERIC FLYNNViljoen...... .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. . .. .. . .. .. . .. . CHRISTOPHER ETTRIDGEVan Rensburg....... . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. . .. .. . .. .. . .. .. . .. FRANK LAZARUSApril. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . . ANTHONY BAIRDRosa Miller..... .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. . .. .. . .. .. . .. .. BARBARA KINGHORNFlorence...... . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. . PEGGY PHANGOVanZyl...... .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. DAVID HENRYErasmus....... . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. . .. .. . .. .. . .. .. WILLIAM SIMONSNel....... .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. VIVIAN HORWITZS.B. M an........ .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. . DAVID BATESONRebecca....... .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. . .. .. . .. .. . .. .. . .. .. . .. LYDIA KIGADACellist.... .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. . .. .. . .. .. . .. .. . .. .. . .. .. . . ROBIN FIRMAN

MUSIC by JIM PARKER

TECHNICAL CREDITS

Film Editor..... . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . .. .. . . .DAVE KINGMake-up Designer... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ELAINE SMITHCostume Designer... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MICHAEL BURDLEFilm Recordist.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DICK BOULTERFilm Cameraman...................................................... . JOHN McGLASHANDesigner... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DON TAYLORProducer... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TERRY COLESDirector. .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BILL HAYS

3

ART MALIK (Indres)This most charismatic of actors burst on the scene with his remarkable performance as Hari Kumar in the widely acclaimed TV serial “The Jewel In The Crown''. This followed years of excellent work with some of the finest English companies, including the Royal Shakespeare and the Manchester Royal Exchange. He also starred in David Lean’s “Passage to India” . Recently finished filming in the Seychelles for YTV in “West of Paradise".

Art was born and educated in Pakistan but home has been London for many years now. He is married with two children.

JOHN MATSHIKIZA (Thabo)Born in Johannesburg, South Africa, he came to England when his father accompanied the hit musical “King Kong” for which he had written the music. He returned to Africa a few years later and was educated in Zambia. During this time he travelled extensively in Southern Africa. He returned to England to study Drama. John was soon working in the theatre, including two years with the R.S.C. and a year with the National Theatre. His African links have strengthened in this time as he directed companies in Nigeria and Senegal as well as working with the exiled South African group Amandla.

He recently appeared in the award-winning film “Dust” with Jane Birkin and Trevor Howard and is currently filming in Richard Attenborough’s film about Steve Biko “Asking For Trouble” .

LOUIS MAHONEY (Sipho)A native of Gambia, Louis Mahoney has an impressive record of theatrical, film and TV credits over the years, most recently “A Woman Called Golda” and “The Final Conflict” . He also specialises in directing African projects for the theatre. Soon to start work on the ‘Biko’ film “Asking For Trouble” .

JACK KLAFF (Dick)He started his professional career in his home town of Cape Town, South Africa but he soon came to England where he joined many of the most prestigious companies including the Royal Shakespeare. He has written and directed many plays, three of which have been televised, including “Nagging Doubt” , an extraordinary one-man portrayal of current politics in South Africa.

ESTELLE KOHLER (Margie)Born in South Africa this fine actress trained at RADA and joined the R.S.C. where she won the London Critic’s Award for her performance as “Juliet” . Stayed with the R.S.C. for ten years playing all the leading Shakespearian roles - Ophelia, Rosalind, Helena — as well as numerous non- Shakespearian leads in plays by Gorky, Ghekov, James Joyce etc. Other theatre work includes Noel Coward’s “Tonight at 8.30” where she learnt to tap-dance, Pinter’s “Betrayal” and “Hedda Gabler".

4

MORIA DOWNIE (Pila)Third place in the Beauty Queen of South Africa contest was the beginning of a wonderfully versatile career, starring in several films and South African TV roles before coming to London. Included in her recent work are leads in Long running West End successes “No Sex Please We’re British” and “Pyjama Tops” - also appeared in the BBC TV serial “Jane Eyre".

NATHAN DAMBUZA(Kabelo)A powerful South African actor who first worked in London in the musical “King Kong” where he played the leading role. He has since made his home in London where he has starred in many different productions ranging from straight theatre to cabaret.

He is about to start filming in Kenya in “The Kitchen Toto” for director Harry Hook.

PEGGY PHANGO (Florence)Played opposite Nathan Dambuza in the same production of “King Kong” in the early sixties. Since when she has acted in a wide variety of productions including “Showboat” and Arthur Miller’s “The Crucible” (BBC TV). Currently appearing in the theatre in the role she created in Richard Harris’ comedy “Stepping Out” (Duke Of York’s).

5

BILL HAYS (Director)An extraordinarily versatile director whose work includes London West End successes such as “Close The Coalhouse Door" (writer Alan Plater), opening and running the prestigious Playhouse Theatre at Leeds and an enormous range of TV plays, films and operas including Leonard Bernstein’s ‘Trouble in Tahiti” , “Rock Follies” (BAFTA award winner), Molly Keane’s “Good Behaviour” and “Time After Time” (winner of Golden Gate Award at ’86 San Francisco Film Festival) and “The Tale of Beatrix Potter” .

TERRY COLES (Producer)Worked as Stage Manager with Joan Littlewood at the “Theatre Workshop” in London’s East End before joining the BBC in 1964. Produced over forty plays including the “Premier” film series, Molly Keane’s “Good Behaviour” , “Contact” , a film about an army patrol in Northern Ireland, that won the best TV Film Award at the Locarno International Film Festival ’85, and “Time After Time” from Molly Keane’s best-selling novel.

JIM PARKER (Composer)A wonderful variety of music composed for - John Betjeman’s readings - “Banana Blush”, “Captain Beaky” , Alan Bennett’s “ Intensive Care”, “Wynne and Penkovsky”, “Good Behaviour” and Alec Clifton Taylor’s “Six More English Towns” (all BBC TV) and much more including works for the Concert Hall.

Among his recent works - the music for Molly Keane’s “Time After Time” (Screen 2, BBC TV)

DON TAYLOR (Designer)One of the industry’s top designers whose many credits include “Columbus” , “Jessie” (Director Bryan Forbes), “The Captains Doll” , “Twelfth Night” , “Henry VIII” , “As You Like It” and “Pericles” . Has worked with Bill Hays (Director) and Terry Coles (Producer) on Molly Keane’s “Good Behaviour” , “Time After Time” and Mai Middleton’s “Bird Fancier” .

JOHN McGLASHAN (Photography)Achieving the unusual distinction of photographing both the BBC films that shared first prize at San Francisco this year - Les Blair’s “Honest Decent and True" and “Time After Time”. This production shows his immaculate camerawork in a totally different style.

6

HAMPSTEAD ARTISTS' COUNCIL LIMITED CAMDEN ARTS CENTRE ARKWRIGHT ROAD LONDON N.W.3.

ANNUAL GENERAL MEETING TUESDAY 16TH SEPTEMBER 1986

A G E N D A

7.3 0pm ¥ ine7.45pm Meeting commences1. Chairman's Report2. Treasurer's Report3. Election of Chairman & Committee5. General Discussion

Meeting closes

NOMINATIONS FOR CHAIRMAN AND COMMITTEE

JEANNETTE JACKSON (Chairman) PainterEVA ALDBROOK (Deputy Chairman)PATRICIA ANGADI (President)NICOLETTE AUBURYHANSI BOHMMORLEY BURYBERRIS CONOLLYDIANA CONSTANCEJOHN CROSSLEY (Vice-Chairman)ALDONA CUNNINGHAMMARGARET FISHERRALPH FREEMANBERNARD GAYPETER GOLDFIELDBRIDGET KLEMPNERTESSA LYTTONELIZABETH LEEELISABETH PASSINIJACK YATES

PainterPainterExhibition DesignerPainterPainterPhotographerPainterSculptorFine Art StudentGallery OwnerGraphics DesignerPainterPhotographerDesignerCATMB MemberPho t o graphe rPainterPainter

HAC REPRESENTATIVES ON THE ARKWRIGHT ARTS TRUST

DOROTHY BOHM ANNELY JUDA RALPH TURNER

Copies of the 1983 and 1984 audited accounts

HAMPSTEAD ARTISTS » COUNCIL LTD

ANNUAL GENERAL MEETING TUESDAY SEPTEMBER l6TH 1986

FINANCIAL REPORT

This year we are able to present you two sets of audited accounts?Year ending March 31st 1983 and Seventeen Month Period ending 31st August 198^ (draft audited accounts). Copies are availableat the meeting for inspection.During this period we have traded with sufficient success to allow us to pay off our long standing debts incurred through the losses on the Open Air Exhibition. By the commencement of the financial year of 1985 we felt our financial position justified our undertaking a major exhibition, "Hampstead Artists" 1946-1986", which was in celebration of our 40th year. We met all the costs of this exhibition, and as you know we published a catalogue which included a history of the society. Yire received generous support for the costs of the catalogue from our Vice-Chairman, Eva Aldbrook, Gillian Greenwood and Hansi Bohni.I did not feel justified in asking our auditors to be present to answer questions at this meeting, as the accounts are of a very simple nature. If anyone has a question of substance I would ask them to write to me and I will pass it on to our auditors for a reply.There will be no increase in the subscription for the coming year.

Jeannette Jackson Chairmanl6th September 1986

MINUTES OF THE ANNUAL GENERAL MEETING OF THE HAMPSTEAD ARTISTS' COUNCIL LIMITED, HELD AT THE CAMDEN ARTS CENTRE ON TUESDAY JUNE 5TH 1984

The Chairman welcomed those present, who included! Jeannette Jackson (Chairman), Eva Aldbrook (Vice-Chairman), Jack Yates, Ray Elton, Andy Elton, Inge Clayton, Errol Jackson, Bridget Klempner, Sylvia Priestland, Judy Massingham, Oliver Gollancz, Moy ICeightley, Elisabeth Passini,Peter Goldfield, Ralph Freeman, Tessa Lytton, Michael Chaitow, Berris Conolly and Cynthia Passini (Hon. Sec).There were apologies for absence from Patricia Angadi, Hansi Bohm,Bernard Gay and John Crossley.MINUTESThe Minutes of the last Annual General Meeting held on March l6th 1982 were taken as read and unanimously accepted by those present.CHAIRMAN'S REPORTThe Chairman's Report had already been circulated to the membership.In reviewing it the Chairman drew the meeting's notice to the 1984 programme which showed a continuing expansion of HAC exhibitions and events, particularly in the field of provision of exhibitions for hospitals. She also referred to the Camden Annual which had already established itself as a national exhibition with the unique prize of a one-man show. There followed a general discussion on the Chairman's Report and the suggestion of creating a Friends of the HAC (or Camden Arts Centre) was put up. The Chairman said the Arkwright Arts Trust had already looked into setting up Friends of the Camden Arts Centre.It was agreed that a Friends society would need to be offered something, and that as an exhibiting society the HAC could best offer its members exhibiting opportunities.Eva Aldbrook then proposed acceptance of the Chairman's Report, Judy Massingham seconded the proposal which was unanimously carried.TREASURER'S REPORTIn presenting the Treasurer's Report the Chairman said the audited accounts brought to this meeting took us up to 1982, which had proved a good trading year and reduced our deficit to £3049. But from then onwards the losses on the Open Air Exhibition had increased the debt to £4500. It was in the light of this debt and the need to put our affairs in order that we had raised the subscription so substantially.The Chairman said she would like to be able to discuss more current accounts, but this had always proved difficult due to the problems involved in the difference of dates of the financial year for the CATMB and the HAC. Therefore on the advice of our auditors, Messrs Lionel Lemon, the HAC financial year would be changed to run from September to Augusts and the accounts for 1982/3 and 1983/4 would be audited together and presented at the next AGM.Finally, it was formally proposed to re-appoint our auditors who hadfor so many years given us their services and advice on a most reasonablebasis.There followed a brief discussion on the Treasurer's Report. The Chairman pointed out that the CATMB subsidised our debt, there being a great deal of interaction between the txiro organisations. Tessa Lytton then proposed acceptance of the Report, Moy Keightley seconded it and the proposal was carried unanimously.

/ over

RESOLUTIONProposed by the Chairman and Committee: "To increase the HAC annual subscription as follows % Associate Members £10.00. Professional Members £15.00.Ray Elton moved that the meeting should accept the Resolution,Oliver Gollancz seconded and there was a unanimous vote to carry the Resolution.ELECTION OF CHAIRMAN & COMMITTEEThe Chairman thanked her retiring committee, and particularly her Vice-Chairman and Secretary. Cynthia Passini then proposed a vote for Jeannette Jackson to be re-elected as Chairman, there being no other nominations, and this was unanimously carried. Those standing for the Committee were also voted as a whole by a show of hands. They were; Patricia Angadi, Hansi Bohm, Michael Collins,Berris Conolly, John Crossley, Margaret Fisher, Ralph Freeman,Bernard Gay, Peter Goldfield, Bridget Klempner, Tessa Lytton,Elisabeth Passini and Jack Yates.Ray Elton proposed a vote of thanks and congratulations to the Chairman, which was enthusiastically carried. The Chairman said she looked forward to a positive and successful year ahead. She felt that politics rather than art might well dominate the running of the Centre in the future, with a tendency to distort artistic aims, and it was important for our society to be strong and put people of professional status forward.The Chairman then closed the meeting.

DEATH IS PART OF THE PROCESSA BBC FILM IN TWO PARTS

PART 1. Sunday, 28th Sept.at 9.00p.m. BBC 1 PART 2. Sunday, 5th Oct. at 9.00p.m. BBC 1

WITH

ART MALIK JOHN MATSHIKIZA JACK KLAFF ESTELLE KOHLER LOUIS MAHONEY MOIRA DOWNIE NATHAN DAMBUZA

M USICASSO C .PR O D U C ERGRAPHICSM AKE-U PCOSTUMESOUNDFILM EDITORDESIGNERPHOTOGRAPHY

J IM PARKERCHRISTOPHER CAMERON DICK BAILEY ELAINE SM ITH M ICHAEL BURDLE DICK BOULTER DAVE KING DON TAYLOR JOHN M cG LASHAN

B O B

B R ITIS H B R O A D C A S TIN G CO R PO R ATIO NBROADCASTING HOUSE LONDON W1A 1AATELEX: 265781 CABLES: BROADCASTS LONDON TELEX

TELEPHONE 01-580 4468 DIRECT TELEPHONE LINE; 01-927 4289

Form: Tel Source 1

Ref: 01/CT /BWBT1 s t M arch 1985

AGREEMENT RELATING TO THE USE OF M ATER IAL NOT SPECIALLYWRITTEN FOR TELEVISION

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1. i/WE HEREBY LICENSE the BBC to give w ithin a period of 3 years from the signing hereof an initial television broadcast (in the case of a series such 3 year period to run to the initial broadcast of the first episode thereof), once only, simultaneously or non-simultaneously from all or any o f the BBC's transmitters in BBC 1 (including BBC Wales) or in BBC 2 or(in the case o f Welsh language programmes for the Fourth Channel in Wales) from the I BA's transmitters as the case may be, ofthe book by Hilda Bernstein entitled DEATH IS PART OF THE PROCESS to bedramat ised in the form of a 105 -minute te levision. pi ay....E5rfi?ject..Ifo;...l/LDQ X180S

provisionally scheduled for television broadcast o n ...............................................................................................

2. I/we license the BBC to give repeat television broadcasts within a period of 3 years from the date of the initial broadcestiin the case of a series such 3 year period to date from the initial broadcast of the last bpisodf thereof) subject to payment on broadcasting taking place of 75% of the initial fee for each such ?>nost hroart. a-st fiiwn simiiltanoni!«i < or non-simultaneously from all or any of the BBC's transmitters h 3BC 1 (including 83C Wales) or ir. BBC 2 or(in the case of Welsh language programmes for the Fourth Channel in Wales) from the IBA's transmitters as the case may be.

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BBC ENTERPRISES LIMITED

AGREEMENT RELATING TO THE EXPLOITATION IN VIDEOGRAM FORM OF MATERIAL NOT SPECIALLY WRITTEN FOR TELEVISION

Videograms 3

Title (of videogram) DEATH IS PART OF THE PROCESS

Name of writer HILDA BERNSTEIN

I. IN CONSIDERATION of payment by BBC Enterprises Limited ("Enterprises") to the writer or the writer's agent of the monies set out in II below the writer hereby grants to Enterprises videogram rights in the book by Hilda Bernstein entitled DEATH IS PART OF THE PROCESS as dramatised by Alan Plater in the form of a TV drama to be first transmitted on a future date(hereinafter called "the work")

II. The monies referred to in I above shall be payable as follows:(1) Advance: Upon first publication by Enterprises of

videograms reproducing the work Enterprises shall pay a non-returnable advance of £200.00 which shall be on account of and first be deducted from royalties payable to the writer hereunder

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Dear Mr. Browne,The BBC would like to use the book by Hilda Bernstein entitled

DEATH IS PART OF THE PROCESS for a television play of 105-minutes duration. For this I would like to offer a fee of £4000 under the terms of the enclosed agreement.

If these terms are acceptable please sign and return one copy of the form to me.

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Ref: 01/CT /BWBT1st March 1985

AGREEMENT RELATING TO THE USE OF M ATER IAL NOT SPECIALLYWRITTEN FOR TELEVISION

IN CONSIDERATION of payment to me/us of a fee("the initial fee") of£4000(payable half on agreement and half on the initial television broadcasting taking place)

1. I/WE HEREBY LICENSE the BBC to give w ithin a period of 3 years from the signing hereof an initial television broadcast (in the case of a series such 3 year period to run to the initial broadcast of the first episode thereof), once only, simultaneously or non-simultaneously from all or any of the BBC's transmitters in BBC 1 (including BBC Wales) or in BBC 2 or(in the case of Welsh language programmes for the Fourth Channel in Wales) from the I BA's transmitters as the case may be, ofthe book by Hilda Bernstein entitled DEftIH IS PART OF THE PROCESS to be drarratisect in the form of a 105--riuhute telwijaion play ]^j^ct ltof l/LDQ X180Sprovisionally scheduled for television broadcast o n .......? . . ....... ^ 7 .* ....................................................

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4. I/we further license the BBC during a period of 7 years from the date of the initial television broadcast(in the case of a series such 7 year period to date from the initial broadcast of the last episode thereof) to show and to license telerecordings of the work to be shown throughout the world to nonpaying audiences(including trapped audiences) w ithout restriction as to the number of showings on payment, if the initial fee is more than £100, of percentages of the initial fee payable on the first showings within the categories in question as follows:

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If the initial fee is £100 or less, then instead o f the before mentioned percentages, the BBC shall make a single payment to acquire all the foregoing rights of an amount equal to 100% of the initial fee, payable on the first showing to a nonpaying audience.

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No payment shall be made to the writer in respect of the inclusion of his work in a cable programme service so long as the work is included via the reception and simultaneous re-transmission of a BBC broadcast, and the inclusion o f the work has not been authorised by the BBC.

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Signed on behalf of the BBC.....1st March 1985

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21 June 1985

Hilda Bernstein Flat 338 Canfield Gardens London NW6

Dear Hilda

These are Alan's initial thoughts which I am very pleased with. I hope you agree.

I might have to adjust various things to make sure that we can afford to make the film at all, but I will talk to you later on.

Please ring Alan if you have any comments, his number is 01 722 4696.

Best wishes

(Terry Coles) Producer, Drama/Plays

Dear Alan,8th July 85

I commend your notes, and consider that you have dealt admirably with the streamlining and simplification of plot and time sequence. However, in doing this, and in the necessity to shorten and compress action, some errors of behaviour of the characters have crept in. It could be argued that most of these would not be noticed, or of any importance, to the viewing public, but I am sure you will agree that to adhere to the way is could have - must have - happened means keeping to an underlying truth that is essential to the ultimate authenticity of the film.

5, 6, 7. Thabo would not approach Pila, however, 'decent' or 'friendly' she hss been to him in their bookshop relationship unless he felt that she was actually involved to some extent. This he would not know until aftjcer the publicity associated with the University demonstration. Therefore the scene in her parents' home should come before 5 - when it would then become obvious that Thabo would know she has taken a position.

This means that the opening sequences all focus around white activities, and needs some re-think or discussion to introudce scenes in contrast to the Dick/Marge/University/Pila syndrome.

6. No queues outside chemists' shops.

8. It would not be right for Thabo, one of the main organisers at the top of the chain, to be present in the brickfield with the three others. He would not be present, but (if they are using them) his condes crystalxs might be - that might establish the link.

• ri \12. It is a distortion of Ralph (the political 'guru') to say that legal \action is a waste of time, it is not correct that it is a total waste.He could say there is no point in taking legal action against pass laws.

14. The date, 16th December, was selected by Umkonto's High Command for the nation-wide start of the sabotage campaign - it would not be selected on a regional basis. It is an historical date, used to be called 'Dingaan's Day*, now re-named as 'Heroes' Day', on which the Zulu chief Dingaan was finally \ defeated by the boers at B lood River. It was therefore of political <xsignificance for launching the campaign that was to be the response of the people. \ ■s

This episode needs to be put differently. They could be discussint the structure of the organisation, but when it comes to targets each group had to do their own recce-ing and select their own (having been given guide-lines as to the type of targets to select with much emphasis on not endagering human life; 'symbols of apartheid' - in this respect the pass office was a very good choice. But it wasn't a case of backroom boys planning each explosion; they laid down general political strategyfi, gave guidelines and left each group to operate themselves. Always bear in mind the question of security, from top to bottom the less a person knew about what others were doing, the saf er.

This takes us to 15. Dick would not be out taking photos - that puts him in as an operator. He is most valuable to the organisation for his skilled technical knowledge, which he must impart to others, not do the work himself. The groups would each survey their own sites. Isn't the clikcing camera a TV cliche?

16. Unless the audience knows what's in the parcel, this has no significance.

17. Singing here would be dangerous and possibly unreal. Despite the bravado, people were under tremendous tension and deeply scared most of the time.The singing episode after the pylon blowing was far out in the veld, away from any hOman habitation. They would not draw attention to themselves by singing in built-up areas.

21. The visitor must be established as a campus associate, not just a s-py.28. Same comment as above (re singing.)30. If you need to shorten, I would suggest this episode could be taken out.46. Some general comments on this scene, which is really one of the most interesting in the book. Marge's development takes place through a series of doubts and struggles with herself. Both Marge and Thabo are suspicious of each other, not knowing if each can be trusted, or whether they are each being pulled into some kind of trap. They are cautiously and slowly feeling each other out in a situation made more difficult by racial/social differences.53. At this stage, Marge should be thinking of hiding Indres in the servant's room (since, in your version, she knows he is not white). Could she say -0 my servant's room is empty, Elias is away - on home leave, there's no one there. Then when he comes, she has to struggle with herself again - first he must come into the house, and once confronted with a human being, not an abstract bklack, this could be the end of her transformation process.56. I'm not sure of this episode. Once Indres is in contact with political associates, he himself would not be going out to look for Thabo.612. some discussion needed on this.

65. The problem of 61 and 56. Indres would not be there. There is no basis for this bringing him into this operation when he is still on the run. Perhaps he could have a prior conversation with Cass 'Are you going?' 'No, I'm staying.'Maybe the disguise goes on here.68. Taking Indreas would endanger the whole operation when he is still on the run (p.277 of book) Also presence of Cass is wholly unlikely. Perhaps go back to 52, where Cass could be established as the runner, taking messages, rather than ixdxeApril, who is not a political activist but drawn in almost accidentally. This could be the basis for establishing Cass a3 a runner between Rebecca, etc.

General comments: If Indres is on his way out, he would be detached totally from any further aativities. If he's staying on, in disguise (which I think is perhaps better) then he would be starting a new personality with totally new associates.Bear in mind that people (blacks) are operating 9m a country where they can be picked up at any time on any excuse, so everyone* lives in an atmosphere of fear and danger; partly the deeds are producing danger, but partly* it is the whole apartheid set-up. Therefore, no one draws attention to him/herself. Fear, not bravado (except in Sipho's case) is the keyonte. They make jokes when playing around, but not in Joh'burg streets, or where they can be observed.Even the Rev Kumalo, walking in a white suburb, is in constotat danger of being picked up on suspicion, just because he is a non-servant black in a white area.

Meeting places. We had to find places where the presence of inter-racial groups would not look unduly suspicious, so often it was in fringe areas of the city where there was some residential (slum-like) overlap. Backrooms in Indian shops or houses; the night club during the day, or when it was closed; blocks of flats in white areas, where a couple of blacks would come as 'delivery boys' or cleaners. We also met in motorcars - this is not visually interesting;A single white, e.g. an instructor, might meet out on the veld, behind bushes or industrial waste areas.

DEATH IS PART OF THE PROCESS

NOTES ON SUGGESTED FILM BY ALAN PLATER

FROM THE NOVEL BY HILDA BERNSTEIN

Alan Plater 75 Eton Hall Eton College Road London NW3 2DH

\

Tel: 01-722-4696Agent: Margaret Ramsay Ltd

DEATH IS PART OF THE PROCESS

THE BOOK AND THE FILM

GENERAL NOTES

We start with a straightforward proposition: this is a smashing and exciting book, and the less we need to tamper with it, the better. As far as the absolute intentions of the book are concerned, we tamper not at all. The job is to tell Hilda Bernstein's story.

We continue with another proposition: that what works on the page does not always work on the screen - the camera travels by a different route from the pen. This is compounded by a statistical problem: that a simple dramatisation of the book, observing the same incidents in the same order, would probably run to about three hours of screentime.

Conclusion: we need to simplify the narrative structure without blurring the issues and without selling any of the characters short.

THE NARRATIVE STRUCTURE

There are time-slips in the novel that work beautifully - notably the Indres-on-the-run strand working in counterpoint with the main drive of the story. Within this there are additional flashbacks, plus the flash-forward elements at either end of the book.

On screen, my suggestion is we move the Indres-on-the-run sequences into their natural position in the tirne-scale. This Will help us create a more powerful thriller element in the latter half of the film - which has to work as a thriller, as well as a political statement.

Let's spell out the stages of the story, .in traditional thriller terms if you will:

1 . A peaceful political Ccimpaign is forced by repression into clandestine acts of violence.2. After an initial period of success, the movement is threatened by mass arrests and increasingly repressive legislation.

CONT:

3. Thabo tries to reorganise the movement. Indres escapes from prison and has to get to Thabo to warn him of the traitor in their midst - i.e. Sipho.4 . Indres fails, but the campaign survives because of the collective efforts of Indres, April, Margie, et al plus the foresight of Thabo himself. Victory is grabbed from the jaws of defeat.

That's cheapening it a little, but is worth keeping in mind in crude story-telling terms. It's also an argument for keeping Thabo's campaign and Indres's quest to get vital information to him in the same timescale.

.Over the page there follows a detailed narrative breakdown, using the above structure. The breakdown is in note form; it cuts corners and makes assumptions that we're all of one mind about the absolute intentions of the piece. Its other purpose is to indicate in broad terms the logistical side of the film: the main characters, settings and locations.

-2-

STORY BREAKDOWN

1. 1980 - Cass preparing the fuses etc for major act of sabotage cool and highly professional. We do not see the explosion at this stage. Nor do we know who Cass is.

2. 1960. University campus. The Exhibition organised by the Human Rights Council. This is wrecked by engineering students. Police and SB men move in. Photographs taken of white organisers - establishing Dick Slater, Ralph Stern, Pila Norval.

3. Later. Meeting at Stern’s house- to consider implications.In addition to the three whites, those present include Indres and Thabo. Debate about the switch to violence.

Pila gives Indres a lift: he is on the edge of abandoning his studies.

4. Dick at home. Establishing Margie, his wife, and the white liberal dilemma. We see that Dick does not admit Margie to his private political thoughts and actions. We also glimpse Elias, their black servant.

5. The bookshop. We establish that Thabo and Pila work at the shop. Thabo asks her to buy Condy's crystals during lunch-hour.

6. Long queue of blacks outside chemists. Pila goes in. There is no queue for whites. As she comes out, she meets Dick, asks him about crystals: this is the third time Thabo has asked her to buy them. He tells her they are used in making explosives - which jolts both of them - they hadn't realised things were happening.

7. Pila at parents house at weekend. Drinks around the swimming pool. They are angry about her photograph being in the papers. Political clash. We see the lifestyle of the privileged whites.We also establish that her father, Mr Norval, has bought a farm on the border of Bechuanaland.

8. Brickfield. Indres, Sipho and Kabelo experimenting with home-made explosive devices. Thabo also present. They are working from an assortment of manuals, etc.

8- CONTThe brickfield sequence serio/cornic - they don't really know

what they're doing, but work it out from first principles.

9. Dick and Margie at home. Elias has disappeared.

10. Indres at brother Joe's shop. Establish Joe has helped finance Indres through college and now he's dropping out. Joe argues for not getting involved - you can't change things - his attitude is virtually identical with that of the Norval family.

11. Dick at police station. Brings Elias home. He's been badly beaten for not having his pass book. Dick takes photographs of him for use in evidence.

12.' Dick discusses Elias situation with Ralph, who says legal action is waste of time. Political action is all that matters. Dick is angry, the pacifist/liberal attitudes cn the run...

13. Brickfield. Virtually a re-run of Seq 8 with Dick giving instructions and guidance. (Worth underlining that Dick gets involved through immediate anger at the treatment of Elias - and maybe regrets it later - the real strength is with Margie)

14. Ralph and Thabo - working out a structure for the attacks - the groups of three, each with a captain - the pseudonyms - the codes etc. We see them studying maps, selecting suitable targetsfor the first attacks. They also select the date: December 16th 1961.

15. Montage - establishing, say, three targets as Dick takes photographs of them - one of them the municipal office that is first target of Indres, Sipho and Kabelo.

(N.B. Seq. 13, 14 and 15 are not in the book - I'd like Hilda's views on their credibility)

16. Indres on train carrying parcel in Christmas wrapping paper. Through the window he sees another man carrying a similar parcel. Indres smiles.