olga a daughter’s tale · olga? olga, 23, not particularly pretty, slightly bushy eyebrows above...
TRANSCRIPT
OLGA AN ORIGINAL SCREENPLAY
WRITTEN BY
MARIE CAMPBELL
BASED ON THE BOOK
OLGA – A DAUGHTER’S TALE
WRITTEN BY
MARIE CAMPBELL
OLGA
by
MARIE CAMPBELL
Adapted from her book
Olga - A Daughter's Tale
(Based on a true story)
Copyright© 2016 by Marie Campbell
All rights reserved including the right to reproduce this
film script or portions thereof in any form whatsoever.For a
ny interest in attaining the production rights of this film
script, please contact Marie Campbell.
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EXT. KINGSTON HARBOUR DOCKS - DAY
The steamer S.S. JAMAICA PROGRESS bound for England is berthed on Kingston Harbour docks. Black men and women
dressed in rags run in and out of the hatches in the side of the boat, working at a furious pace, loading the
steamer's cargo. Friends and relatives crowd the dockside to say goodbye to passengers.
MAMMIE, white English, 50, grey hair in a bun, her husband
HENRY,50, black Jamaican, tall, proud, are on the docks with their coloured children, OLGA, DOLLY, BOYSIE and FATHER BAKER, Catholic priest and family friend.
The family is tearful as they say goodbye to Olga who is
traveling on the steamer.
Dolly, 18, slim, very pretty, is particularly upset as she and Olga are very close.
DOLLY
Why couldn't you stick with last year's plan and become a Nun, Olga?
Olga, 23, not particularly pretty, slightly bushy eyebrows
above huge brown eyes that seem to be in a permanent state of astonishment at everything she sees or hears, a
beautiful smile, with a soft voice that fits like a glove with her gentle manner.
OLGA I like taking care of people
Dolly.
Even so, Olga is apprehensive. Mammie puts her arm around her.
MAMMIE
You see Olga, I told you, a good education will open any door, no
matter how thick the door. Now you will have opportunities in England to study and learn.
In the background the sound of beating drums and raised
angry voices.
FATHER BAKER, 60, Irish, white hair, weather beaten complexion.
FATHER BAKER
(shaking his head)
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Another demonstration. So much
unrest and rioting in the city.
On the ground lies a leaflet.
INSERT - LEAFLET
"V E N G E A N C E!
JUSTICE AND JUDGMENT BETTER TO DIE FREE THAN TO LIVE IN
THIS CONDITION. NO WORK. NO FOOD. NO MONEY. BLACK MEN ARISE AND SEEK YOUR
RIGHTS."
Olga glances nervously towards a newspaper stand.
INSERT - NEWSPAPER HEADLINE
"HITLER PROMISES NOT TO INVADE EUROPE".
MAMMIE We made the right decision to let you go now. Martha will be waiting
for you in London when the steamer docks.
BOYSIE
Aunt Martha hasn't been to Jamaica for years Mammie. How will Olga
know what she looks like?
Mammie takes a photograph out of her bag. It is of the
family, Mammie, Pops, Olga, Dolly, Boysie and Mammie’s sister, Martha, taken a few years earlier one Christmas.
Mammie points to an attractive young woman in the
photograph, 35.
MAMMIE There, remember, that's her, Aunt
Martha.
Olga nods and takes the photograph.
OLGA
I'm excited and nervous all at the same time. It'll be the first time
I've been all on my own.
Pops puts his arm around Olga.
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POPS
Don't be afraid Olga. We don't know what we are capable of until we are tested. You may surprise
yourself.
DOLLY Keep the photograph close by and
then we'll always be with you Olga.
Dolly and Olga become tearful. They hug each other.
POPS Come on Dolly. The time will fly
by and it won't be long before you and Olga talk again.
Turning to Olga.
POPS (CONT'D)
Remember, write often Olga and don't let the bright lights of London capture your heart so you
forget to come home.
The family take turns to hug Olga goodbye, the biggest and longest hug saved for Mammie. She slips a small box into
Olga's coat pocket.
Father Baker blesses Olga.
MAMMIE
Put your trust in the Lord Olga and he will not let you down.
CREDITS BEGIN AS SOON AS OLGA BOARDS THE STEAMER
EXT. OLGA ON DECK - DAY
The crowds of cheering family and friends wave frantically at the passengers who are a mix of black, coloured and
white.
Olga, handkerchief in her hand, stands at the deck-rail waving to her family as tears roll down her cheeks. The
ship's horn blows and on a crystal clear morning, the S.S Jamaica Progress steams slowly out of Kingston Harbour past
small fishing boats with the fringe of the coconut palms that front the Blue Mountains gradually disappearing from
view.
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Olga looks up at a cloudless blue sky and sees three long-
tailed humming birds, vivid in colour, sweep across the sky in unison. Her mood lightens and she smiles.
OLGA A sign of good luck Olga.
INT. S.S. JAMAICA PROGRESS - DAY
Olga carries her suitcase as she makes her way down wooden steps to steerage class. She walks along the passageway ticket in hand checking for the cabin number. It is dark
and claustrophobic.
Olga reaches her cabin and enters. It is tiny, windowless, with two bunk beds the lower of which is occupied by a
large black woman, 45, asleep, snoring loudly and conspicuously wearing a large red velvet hat with peacock
feathers sticking out from it. There is a small table with two chairs. Olga looks around the cabin, grimaces, then
puts her case on the top bunk and quietly leaves.
INT. STEERAGE DINING ROOM - DAY
Olga sits alone tucked away in a corner of the room. In front of her is a half-eaten plate of rice and peas. The
dining room is crowded and noisy with black men, women and children eating. There is a buzz in the room as people
talk excitedly about a new life in the Mother Country.
Olga takes the small box her mother gave her out of her pocket and gently opens it. She gasps. She lifts out a silver chain and crucifix. Olga’s face registers joy at
the sight of it. She puts it on.
From her bag Olga takes out a pen and a pile of postcards all identical with a picture of the S.S. Jamaica Progress
on them. She puts them in a neat pile on the table. She pushes her half eaten meal to one side and picks up her pen
and takes a postcard and begins to write.
INSERT – DEAR MAMMIE AND POPS
DISSOLVE
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CREDITS END
EXT. HARBOUR SIDE -LONDON DOCKS - DAY
Passengers disembark from the S.S. Jamaica Progress to be
greeted on the dockside by excited friends and relatives.
Olga waits on the dockside. She holds the family photograph with her Aunt Martha. Olga looks at it repeatedly whenever
a women appears on the docks. As the people disperse Olga's demeanor becomes increasingly anxious until finally she is virtually alone.
Olga notices a waiting room.
INT: WAITING ROOM - CONTINUOUS
Olga enters. Sitting in the room are about a dozen men and women all white. The murmur of conversation stops as all
eyes turn to look at Olga. Full of anxiety Olga sits down. As she does so she drops the photograph and it lands face down. She sees an address written on the back. As Olga
bends down she looks around and sees a seas of white faces still staring at her.
Olga picks up the photograph and her suitcase and leaves.
EXT. STREET - CONTINUOUS
It starts to rain hard. Olga stands outside the entrance
to the docks. To her left is a bus stop but no bus. To her right a taxi is parked. Olga looks from one to the
other. She checks how much money is in her purse. She hesitates then walks towards the taxi but half way stops
and turns around. As she does so a bus pulls up at the stop. She runs up to it. She shows the bus conductor the
address on the back of the photograph. He nods.
INT. ON THE BUS - CONTINUOUS
There are signs that Londoners have been preparing for war. Air raid shelters have been built and sticky tape is stuck
across windows to prevent people being cut by flying glass and splinters.
Olga sits on the bus soaking wet staring forlornly out of
the window.
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EXT./INT. MARTHA ROSS' APARTMENT - DAY
Olga knocks on the front door of Martha's apartment. Silence. Olga knocks again, louder. She puts her hand up
to knock a third time when the door opens.
MARTHA ROSS, 50, stocky, grey hair disheveled, with a heavily pocked marked face, looking nothing like the young
woman in Olga's photograph, stands in the doorway in her dressing gown. Martha looks surprised to see Olga.
Olga is equally surprised by Martha's appearance.
MARTHA How did you get here?
OLGA
Didn't you get Mammie's letter?
MARTHA Jesus Christ, what day is it?
Olga is shocked by Martha's blaspheming.
OLGA April 1st.
Martha bursts out laughing.
MARTHA
Trust you to arrive on April Fool’s Day, Olga.
Olga does not understand the jibe and looks blankly at Martha, who still chuckling, indicates to Olga to enter.
The sitting room is untidy. Empty beer bottles and dirty
glasses litter the room. A large tin ashtray overflows with cigarette ends. Olga wrinkles her nose.
Olga sees an open door and gasps. A black man, MR KITCHEN,
50, lies in Martha's bed smoking a cigarette. Olga's hand flies to the silver cross around her neck. Martha closes the bedroom door and winks at Olga.
MARTHA
My fiancé, Mr Kitchen, Olga. Let's keep this our little secret.
No need for the family to know. By the way, I think you have
something for me?
Olga regains her composure. She takes out an envelope from her handbag, with MARTHA written on the front, and hands it
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to Martha. Martha hurriedly opens the envelope and
greedily counts the money that is in it.
INT. UPSTAIRS - OLGA'S BEDROOM - AFTERNOON
Olga and Martha are standing in a dark, small, sparsely, furnished bedroom, marginally better than her cabin on the
steamer. Martha opens the curtains to let in light which immediately highlights the bleakness of the room. Olga
looks around the room in dismay.
AUNT MARTHA
It ain't the most salubrious my dear but it's not like you'll be
in it much anyway what with being at the hospital all day and when
you're not working you'll be studying, eh?
Olga smiles weakly.
AUNT MARTHA Well, goodnight!
Martha shuts the door.
INT. OLGA'S BEDROOM - NIGHT
Olga has unpacked her suitcase. She places her Bible, a little statue of the Virgin Mary, her rosary and the photograph of her family on her bedside table.
She modestly undresses and puts on her nightdress.
Olga kneels at the edge of her bed, her rosary beads in
clasped hands and head bowed, her lips moving in silent prayer. Olga makes the sign of the cross and is about to
get up when she remembers something else. She kneels back down.
OLGA Dear Lord, please help me to be
brave tomorrow. I don't want to let my family down.
Another sign of the cross.
She starts to get up again, remembers something and kneels
back down.
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OLGA
And please, dear Lord, help me to make friends.
Another sign of the cross and kisses her rosary.
EXT. THE HOSPITAL - DAY
Olga stands, dressed in her student nurse's uniform at the
main entrance of the hospital, a large formidable Victorian building. Doctors, nurses, members of the public, all seem to be on a mission, as they rush past her to different
parts of the hospital. Olga stands bewildered and confused not knowing where to go.
A young student nurse, 24, tall, aristocratic, beautiful,
dark brown shiny hair cut in a bob, perfect peaches and cream complexion, more like a film star than a nurse,
strolls past Olga and then stops. She looks back at Olga.
MOORES You're first day here as a student nurse?
Shyly Olga nods. Moores smiles.
MOORES (CONT'D)
Me too. C'mon, I'll show you where we have to go.
Olga runs towards her.
MOORES (CONT'D) My name’s Ann Moores. My friends
call me Moores.
Olga looks upwards and mouths 'THANK YOU'.
INT. FEMALE GENERAL WARD - DAY
SISTER TUTOR, 48, a stern no nonsense woman, is addressing a group of student nurses all gathered round an empty bed
in an otherwise full female ward.
Olga fidgets. Her black frizzy hair poking out at different angles under a white cap held in place by hair grips.
Stretching her neck, she repeatedly runs a finger round the inside of her collar. A glare from Sister Tutor stops Olga
fidgeting.
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SISTER TUTOR
It is my pleasure to guide you through your nursing training until you become fully qualified
nurses.
Sister Tutor indicates to a STAFF NURSE, plain, bad skin, 30.
STAFF NURSE
The corners of the sheet must be turned in and the open end of the pillow case must not face the door
into the ward.
The ward doors swing open and DR JOHN EDWARD, 28, fair, tall, athletic, confident, enters. He picks up the medical
chart at the end of a middle aged patient's bed, reads it, smiles at the patient who is watching him anxiously,
returns the chart and moves on to the next patient. He repeats the process while some of the student nurses,
including Olga, sneak admiring glances at him.
Sister Tutor loudly clears her throat to regain the nurses'
attention.
INT. MEN'S WARD - DAY
Olga, WARD SISTER, 30, and the student nurses are gathered
around the bed of a young man 25, BEN.
WARD SISTER
Later today Ben will have an operation to remove his spleen so
now we need to prepare him for the operation. That means one of you
will shave his chest.
She turns to Ben.
WARD SISTER (CONT'D) Ben, remove your shirt.
Ben does so to reveal a very hairy chest.
Ward Sister picks up a cut-throat razor from a nearby trolley and holds it up with the blade open. Anxious looks
from the students and a look of horror from Ben as Olga faints crashing to the floor.
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INT. HOSPITAL WARD - DAY
Olga, alone, meticulously makes a patient's bed making sure the corners of the sheet are turned in and the open ends of
the pillow slip don’t face the door into the ward.
Olga folds the top sheet over the counterpane making sure both the sheet and counterpane are exactly the same width.
To check the width she measures from her fingertips to her elbow.
Just as Olga finishes making the bed, Sister Tutor walks past and examines Olga’s handiwork. She nods approval and
walks on. Olga, chest out, bursts with pride.
INT. HOSPITAL COMMON ROOM - DAY
Olga sits studying at a table with Moores and ETHEL, 24,
Eastender, small, twinkling green eyes, a cockney accent and red curly hair.
OLGA Why did you want to be a nurse
Ethel?
ETHEL Simple! Get away from me five
brovvers. Made my life 'ell they did. What 'bout you Olga?
Jamaica's a long way to come to study nursing?
OLGA It's my dream to become a nurse
and make my family proud. Mammie says qualifying here will open
doors for me back home no matter how thick the door.
MOORES
(laughs) Your Mammie is a wise woman.
ETHEL Your turn Moores. Wiv your money
an’ looks you don't 'ave to werk? Why a nurse anywaites?
Moores hesitates.
MOORES
Atonement!
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Ethel looks bewildered not understanding but pretends she
does.
ETHEL
Ah, I see.
MOORES My sister Stell was always very
fragile. But you see I'd met someone and this was our first
date. Stell asked me not to go out that night, to stay with her. She suffered with her nerves. I told
her to pull herself together.
There is silence at the table.
MOORES Next morning her body was found at
the bottom of a cliff. After my sisterly advice she
killed herself.
Olga puts her arms around Moores. Moores cannot hold back
her tears.
Dr John Edward enters, looks around. He sees a pretty YOUNG NURSE and walks over to her. They are at ease together,
laughing and whispering. Olga gazes at him.
ETHEL (laughing)
Cor, he's dishy. Ain't he Olga?
She fancies him don't you Olga.
At that moment Dr Edward looks up and sees Olga looking at him. He smiles at her. Olga's looks away embarrassed.
ETHEL
They're treated like Gods them doctors. They can't do no wrong.
The door flings open and a NURSE, appears shocked and scared.
NURSE
Oh my God! We're at war! The Prime Minister is about to make an
announcement on the wireless.
People rush out of the room.
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OLGA
This better not be someone's idea of a joke!
MOORES COME ON!
All run out of the common room.
INT. HOSPITAL CANTEEN - DAY
The canteen is crowded with hospital staff. Olga, Moores
and Ethel squeeze through the crowded room to get close to the radio. Anxious faces all around the room wait for the
announcement.
Olga sees Dr Edward. Their eyes meet and he winks at her. Olga lowers her gaze but shyly looks up and sneaks another
glance. He is still looking at Olga. Olga smiles at him.
Silence descends as the radio crackles into life.
AND THE PRIME MINISTER
NEVILLE CHAMBERLAIN (V.O.) This morning the British
ambassador in Berlin handed the German government a final note
stating that unless we heard from them by 11 o'clock telling us that
they were prepared at once to withdraw their troops from Poland, a state of war would exist between
us. I have to tell you now that no such undertaking has been
received, and that consequently this country is now at war with
Germany.
Some sit stunned by the news.
ETHEL My Dad an' brovvers will be called up an' have to fight.
The conversation is interrupted by a siren blaring outside.
MOORES
Oh God, we're not being bombed already.
Staff rush to the window. A policeman in the street below
frantically blows his whistle. People panic and run in all directions.
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OLGA
Where are they running to?
MOORES
Air raid shelters.
Olga touches the cross around her neck.
OLGA What do we do now?
Dr Edward immediately takes charge.
DR EDWARD C'mon everyone. There's work to
be done.
Everyone moves towards the door.
INT. CASUALTY - NIGHT
From the entrance of the hospital can be seen the glow of fires burning in the city.
Casualties pour in and are placed in corridors. Casualties
with missing limbs scream in pain, others have serious heads wounds, glass embedded in skin, dirt and grim cover
wounds.
Olga lifts a blanket covering a young man – part of his chest is missing. She puts her hand over her mouth to stop herself from being sick.
Dr Edward takes control of the chaos barking out
instructions to the nurses. He sees Olga touching the crucifix around her neck.
DR EDWARD
Stay close Nurse Browney. I'm going to need you.
TWIN BOYS, 8, dressed identically in grey jumpers with small yellow, red and blue airplane, train and car motifs
on them, lie peacefully side by side on a stretcher.
OLGA How do they manage to sleep
through all the noise?
DR EDWARD (without a shred of
emotion) They’re dead.
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LATER -
Olga and an efficient STAFF NURSE work on a FEMALE BOMB VICTIM
STAFF NURSE
Browney, find some tweezers and start removing the glass from this
woman’s face.
Olga, hand shaking, starts to gently remove shards of glass from the woman's face. She looks over to Dr Edward. He is totally absorbed in working on his patient.
The woman turns to Olga.
WOMAN
Where are my boys? Are they here?
Olga leans closer to the woman so she can hear her.
OLGA How old are they?
WOMAN Eight. Twins. Little plane and
trains on their jumpers.
Olga looks over to where the boys lie and runs into the nearest toilet.
INT. TOILETS - CONTINUOUS
Olga throws up in the basin. She shakes. Olga touches her
crucifix and takes a deep breath.
INT. CASUALTY - CONTINUOUS
Olga re-enters. Dr Edward his hand pressed on a blood
soaked piece of gauze covering a chest wound, calls out to Olga.
DR EDWARD Nurse! Here! Take over. Keep the
pressure on this wound.
Standing each side of the patient's bed their hands touch. They react simultaneously as if they receive an electrical
shock. Their eyes lock. Olga looks away first.
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Dr Edward's searches through a range of medical utensils on
a trolley, finds the one he wants and returns to his patient without looking again at Olga.
DR EDWARD (brusquely)
OK. I can manage.
As Olga walks away to return to her patient, his eyes follow her.
OLGA You're boys are safe now. Lie
still. I have to remove the glass.
A CATHOLIC PRIEST stands over a woman on a stretcher giving her the last rites.
A WOMAN, crying loudly, stumbles into casualty, her arms
stretched out in front of her, a small dog following at her heels.
WOMAN I can't see. Please someone help
me!
Ethel takes her hand and gently guides her to a chair.
A severely BURNT YOUNG MAN, screaming in agony, is carried in on a stretcher. The medics look around for somewhere to
put him.
Dr Edwards sees their dilemma.
DR EDWARD
On the ground.
The medics put him on the floor.
BURNT MAN Mum! Mum!
STAFF NURSE Nurse! Get a bath ready for
immersion. Now!
Dr Edward calls Moores over to where he is examining a severely INJURED MAN.
DR EDWARD
I have to remove his leg. You'll have to hold it while I saw
through to the bone.
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Moores sways momentarily.
Nearby trolleys with dead bodies, each covered with a sheet, wait to go to the morgue.
Olga is bent over the woman gently removing the shards of
glass embedded in her face. She stops only to wipe away her tears.
EXT. OUTSIDE - NEXT DAY - LATER
Olga staggers outside and fills her lungs with fresh air.
The devastation stuns her. Houses have been reduced to heaps of rubble. A cat sits patiently on the front step of
a house that has no door.
People wander the street distressed and crying, looking for friends. Others stand talking about neighbors who have
been killed. There is a dust haze and in the distance smoke rises.
Two small children sit on top of the rubble, crying. An old woman and man run towards them. The old woman scoops the
little girl up in her arms and the man the young boy. All four are now crying.
A stray dog walks into a puddle and jumps out squealing in
pain because it is so hot.
People with handcarts clawing through the debris of what was left of their home trying to salvage some small family treasure.
Moores comes out wearily surveying the scene. She puts her
hand under her nose.
Dr Edward comes out and surveys the scene.
MOORES All I can smell is explosives and
sewage.
OLGA
And gas.
DR EDWARDS The smell of violent death and
destruction.
Olga is slumped on a crate exhausted fiddling with the silver crucifix around her neck.
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DR EDWARDS (CONT'D)
(harshly) Tell me Nurse Browney, where was your God when he was needed?
Olga walks away. His eyes follow her.
Olga goes into an ante room. Dr Edwards follows her.
INT. ANTE ROOM - CONTINUOUS
Olga closes her eyes and takes a deep breath, inhaling the
scent of the flowers.
Dr Edward enters and shuts the door behind him.
DR EDWARD You did well Olga.
Unobtrusively he locks the door.
OLGA The flowers perfume and colours
remind me of Jamaica. I'm feeling a bit homesick.
Dr Edward moves towards Olga. There is a lecherous look on
his face that immediately makes Olga anxious. Suddenly he grabs Olga by the shoulders and slams her against the wall
and starts kissing her very roughly.
With his knee he forces her legs apart.
Olga frantically struggles trying to push him away but the
weight of his body keeps her pinned against the wall.
OLGA Stop, please stop, you’re hurting
me.
Her fists are repeatedly beating his on shoulders
DR EDWARD
Stop struggling and it won’t hurt
He pulls her dress up and her knickers down.
He then undoes his trousers.
Olga is still pinned against the wall.
By now Olga is crying but her fists are still punching Dr Edward's shoulders.
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Olga PLEADS with him.
OLGA Please don't, you're hurting me.
Dr Edward's laughs.
He covers Olga's mouth with one hand and forces himself
inside her.
In spite of his hand over his mouth Olga manages to let out a strangulated cry.
Dr Edward repeatedly thrusts himself into her.
As suddenly as her ordeal started, it finishes.
Dr Edward's body relaxes.
JOHN It’s OK, Olga, I’m finished now.
Olga is leaning against the wall in a state of shock.
He buttons up his trousers.
He is about to leave. He pauses and turns to Olga.
DR EDWARD Any problem, just contact me Olga
and I’ll terminate the pregnancy.
He unlocks the door and closes it behind him.
Olga stays in the same position in a state of shock. She
leans against the wall because she can't stand up on her own without its support.
Blood and fluids run down her legs.
INT. OLGA'S BEDROOM - NIGHT
Olga kneels at her bedside, distraught, clutching her
rosary beads, head bowed, praying.
On her bedside table are her Bible and the family photograph propped up against the statue of the Virgin
Mary.
OLGA (V.O.) Dear Lord. Help me. I'm so lonely.
I have nightmares and am frightened to sleep. When I close
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my eyes, it happens all over
again. I want to go home.
INT. OLGA'S BEDROOM - EARLY MORNING
Olga is lying fully dressed for work on her bed staring vacantly at the ceiling. She suddenly leaps of the bed and
rushes to the bathroom. The sound of Olga retching can be heard.
EXT. HOSPITAL GARDEN - DAY
Moores and Ethel are sitting on the grass chatting. They
see Olga and call out to her.
MOORES Olga, here, over here!
Olga increases her pace pretending not to have seen them.
INT. NURSES COMMON ROOM - NIGHT
Olga sits a forlorn figure alone, a glass of water
untouched in front of her when Moores enters and sees Olga. Olga gets up to leave. Moores blocks her path.
MOORES Olga, why do you keep avoiding me?
Have I done something wrong? You've changed. Are you sick? Do
you need to see a doctor? (in frustration)
Is it the war?
Olga shakes her head.
OLGA. No.
INT. FEMALE WARD - DAY
Olga looks pale, tired and drawn and has let her appearance
go. She wears a grubby apron. Olga is robotically taking patients temperatures and recording it on a chart at the
end of their bed. She is subdued and not her usual friendly self.
Staff Nurse sits at a table watching Olga.
21
STAFF NURSE
Nurse Browney. A word!
Olga stands in front of Staff Nurse.
STAFF NURSE
(sharply) How dare you come on duty wearing
a dirty apron! What is wrong with you?
Olga says nothing.
STAFF NURSE (CONT'D) Your work has deteriorated over
the last few weeks Nurse Browney. Please explain!
Olga sways just before she crashes to the floor.
Staff nurse calls out to a nearby nurse attending a
patient.
STAFF NURSE
Nurse! Get a doctor. Now!
INT. HOSPITAL - MATRONS OFFICE - DAY
Olga looks fixedly ahead as she stands in front of Dr
Randell, 50, a senior doctor. Matron sits passively behind her desk.
DR RANDALL It's my duty to inform you that
the result of your recent medical examination shows you are
pregnant.
He pauses before he speaks again.
MATRON Nurse Browney, you will leave the hospital immediately.
EXT. HOSPITAL GROUNDS - DAY
Olga sits on a bench, bewildered and utterly dejected. Olga
sees Matron walking towards her. Olga gets up to walk away but Matron calls out to her.
Matron hands Olga a sealed envelope.
22
MATRON
(gently) This might be of assistance to you Olga.
Olga takes the envelope.
EXT. HOSPITAL GROUNDS - DAY
Olga sees Moores coming towards her. She turns to walk away
but Moores catches up with her.
MOORES
Olga, what’s going on?
Olga is still in a state of shock and hasn't the energy to run away from Moores.
They sit down on a nearby bench.
OLGA
I have to leave. Dr Randall says I’m pregnant.
MOORES What! You!?
Moores absorbs the information.
MOORES
Who’s the father?
Olga looks at Moores with tears in her eyes.
OLGA
Dr Edward. He forced himself on me.
Overcome, Olga collapses into Moores' arms sobbing.
MOORES
The bastard. (pause) Olga, I know someone who can fix
this for you. No-one need ever know.
Olga pulls free from Moores.
OLGA
I would know. It’s a sin Moores.
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MOORES
Then, you'll have to tell your family.
OLGA No! I can't. It will bring shame
on them.
INT. MARTHA'S APARTMENT - OLGA'S BEDROOM
Olga grabs a few clothes from her wardrobe and throws them hurriedly into her suitcase.
By contrast she carefully places her Bible, statute of the
Virgin Mary and rosary beads in the case.
INT. MARTHA'S FRONT ROOM - CONTINUOUS
Olga takes a note from her pocket and props it up against
an empty beer bottle on the table. The front of the note reads
INSERT - ENVELOPE
"AUNT MARTHA"
Olga leaves quietly.
EXT. LONDON STREET - DAY
Olga walks down a tree lined residential street carrying her suitcase and stops outside a large, detached building.
A large sign board reads CATHOLIC REFUGE FOR FRIENDLESS GIRLS. Next to it is a statue of the Virgin Mary.
Olga takes the envelope Matron gave her from her coat
pocket.
INSERT - the envelope reads
CATHOLIC REFUGE FOR FRIENDLESS GIRLS
Olga walks up to the front door in the centre of which is a
large ornate, brass gargoyle door knocker which Olga reluctantly takes hold of and bangs on the door.
24
INT. OFFICE - REFUGE - DAY
GERALDINE FRANKS, late 30s, tough but compassionate, sits behind a desk. She is the Superintendent of the Refuge.
Olga sits opposite her, vulnerable and frightened.
MISS FRANKS Well, the first thing to do is to
complete a registration form. The Matron at St Mary's Hospital
told me a bit about you in her letter. Your full name is Olga Josephine Browney. Correct?
Olga nods.
MISS FRANKS (CONT'D)
And you are from Jamaica?
Olga nods again.
MISS FRANKS (CONT'D) You were a student nurse at St Mary's?
Head still bowed.
OLGA
(softly) Yes.
As Olga answers questions, Miss Franks notes the answers down on the registration form.
MISS FRANKS
The name of the baby's father Olga?
Olga shakes her head. Miss Franks puts down the pen. She
sighs.
MISS FRANKS (CONT'D) Without support, Olga, your baby will be taken from you and put up
for adoption.
For the first time Olga raises her head.
OLGA I want to keep my baby.
MISS FRANKS
That's not going to happen Olga.
25
INT. REFUGE - WOMEN'S DORMITORY - DAY
The dormitory has 20 single iron beds, ten down each side of the room. A large crucifix hangs on one wall. Each bed
has a curtain that can be drawn around the bed to give the women privacy.
JACKY, 25, thin, bad skin, accompanies Olga. Jacky wears a
shapeless grey wool dress and a navy blue tabard. Jacky stops by a bed and points.
JACKY That's youse.
An identical uniform to Jacky's is on the bed. Opposite
Olga's bed is the large crucifix on the wall.
OLGA I didn't know places like this
existed.
JACKY Oh it ain't so bad. Some of the nuns are real bitches but still
better 'ere then in the workhouse. You don't wanna be in one of 'em.
OLGA
What do we do all day?
JACKY Cleanin' the Refuge, doing laundry an' workin' in the kitchen.
As an afterthought.
JACKY
Prayin' for salvation takes up a lotta time.
Jacky leaves.
Olga opens her suitcase and takes out her Bible and her family's photograph. She places the photograph in the
Bible. She takes out her statue of the Virgin Mary, her rosary beads and places them on the bedside table. Olga
kneels down, with rosary beads in her hand, head bowed, to pray.
26
INT. REFUGE - DINING ROOM - EARLY MORNING
The dining table is laid for breakfast. The women stand either side of the long dining table.
SISTER CLAIRE, 50, cold, small grey eyes. A slight twitch
under her right eye.
SR CLAIRE You are here, shunned by society
and your families, because you are soiled, unclean. You have sinned in the sight of God. Here you will
wait out your pregnancy, repenting for your sins and immoral wanton
behaviour.
Olga bows her head.
Some of the women start to cry. A woman raises her hand for permission to speak. Sr Claire gives her a cold look.
SR CLAIRE You have no voice here.
Your babies will be given to good decent people who, unlike you,
have Christian values and moral fiber.
EXT. REFUGE - FRONT DOOR - MORNING
It is early morning, cold and a cloudless clear blue sky. Olga's pregnancy shows. She wears the shapeless grey wool
dress and a navy blue tabard. Over her clothes she wears a rubber apron.
Olga meticulously cleans the door knocker, a big brass
gargoyle, careful to remove all the cleaning paste from creases and cracks. Olga clasps her cold hands together and
blows into them.
Olga continues to clean. She sees her reflection in the
door knocker and is shocked by what she sees. Dull tired eyes with heavy bags underneath them look back at her. Her
hair is unkempt. She fiddles with her hair trying to make it look tidier. Olga looks older than her years.
Olga reaches into her pocket and takes out a cloth and
places it over the gargoyle so she does not catch sight of herself again. She starts to clean the door handle.
27
An air raid sirens sound. Olga looks up and high above
sees German planes flying overhead. Olga is terrified to move. She presses herself hard against the door clinging to the gargoyle.
She looks upwards into the sky and sees the planes release
their bombs. Moments later she hears explosions and sees black smoke rising in the distance as the bombs hit their
targets.
INT. REFUGE - CHAPEL - EVENING
The ORGANIST plays Christmas carols. Olga kneels in front of the statue of the Virgin Mary, clutching her rosary
beads and silently sobbing.
Olga makes the sign of the cross and goes over to the Nativity scene. She looks around and gently removes a
blade of straw from underneath the Baby Jesus's crib and puts it in her pocket. As Olga genuflects to leave the
chapel, she lets out a SCREAM and collapses on the ground, water spreading across the ground.
INT. REFUGE: BIRTHING ROOM - DAY
Olga lies in a bed slowly regaining consciousness. Through
blurred vision she sees a young DOCTOR and NURSE talking.
OLGA My baby.
Olga lies exhausted in the bed, her frizzy hair damp from sweat.
A kindly nurse holds out the baby for Olga to take.
OLGA
I'm frightened to hold her. She's so small, I might hurt her.
NURSE Babies are tough, Olga. Give your
daughter a cuddle.
The nurse gently places the baby into a smiling Olga's arms. When Olga looks at the baby she is taken aback. She
looks up questioningly at the nurse.
The nurse understands Olga's look.
NURSE I thought she'd be darker too.
28
Olga studies her baby then gazes adoringly at her little
girl. Olga whispers to her.
OLGA
Mammie, I wish you could see my tiny, perfect little daughter.
You're mine, all mine, and no one is going to take you from me.
INT. HOSPITAL - MATERNITY WARD - DAY
The ward is decorated with Christmas decorations.
Moores enters the ward. Olga is happy to see Moores. They
hug each other. Moores looks at BABY MARIE who is asleep. Moores gently strokes Baby Marie's cheek.
MOORES
She looks like you Olga. She's beautiful.
Olga looks at Baby Marie with great pride.
OLGA And more white than brown eh?
Olga looks at her daughter and becomes emotional.
OLGA (CONT'D)
They’re going to put her in an orphanage.
MOORES Maybe that’s the best thing for
Marie.
Olga shakes her head vehemently.
MOORES How are you going to look after
her, Olga? You're unmarried, you've no home, no family support, no job, no money and living in a
foreign country which just happens to be in the middle of a world
war.
OLGA Pops says we don't know what we
are capable of until we are tested.
29
INT. REFUGE- SMALL WAITING ROOM - DAY
Olga carries BABY MARIE. A NUN walks beside Olga firmly holding Olga's arm. They enter a small waiting room. The
Nun indicates to Olga to wait. She leaves the room.
Jacky is in the room. Jacky sobs into the bundle she is carrying.
The Nun returns. She walks over to Jacky and whispers
something to her. Jacky doesn't move. The Nun roughly takes the baby from Jacky's arms and leaves the room. Jacky's sobs turn to frantic pleadings.
As Olga watches in horror, she quietly backs away from the
scene clutching her daughter tightly.
Jacky suddenly stands up and runs out the room after the Nun. The sound of Jacky howling for her baby fills Olga
with terror.
Clutching Baby Marie, Olga opens the external door. She peers through to see if anyone is in the hallway. No one is around.
INT - HALLWAY - CONTINUOUS
Olga holds her baby tightly as she tiptoes across the hall and opens the front door of the Refuge. She closes it very
quietly behind her.
EXT. STREET - CONTINUOUS
Olga takes a couple of steps before she breaks into a run down the street. Baby Marie starts to cry. She runs into
the nearest building. It’s a Catholic Church.
INT. CATHOLIC CHURCH - DAY
Olga sits alone in the Church forlorn and distressed clutching Baby Marie in her arms.
A side door opens and a PRIEST, 40, enters the church. He
walks to the altar, kneels, makes the sign of the cross and walks up the aisle.
The priest sees Olga and notices her demeanour. He stops
and sits down beside her.
PRIEST Can I help?
30
Olga looks beseechingly at him.
OLGA I've no money and nowhere to sleep
tonight.
Baby Marie stirs in Olga's arms. The priest leans towards the baby to get a better look. Olga pulls away raising her
free arm in a protective gesture. The priest is moved by Olga's vulnerability and protectiveness towards her baby.
PRIEST Wait here.
He returns to the vestry. The priest returns carrying a
straw basket and blanket which he gives to Olga. Olga gently places her baby in the basket covering her with the
blanket. The priest then gives Olga some money.
PRIEST This should be enough to pay for a
room and some food for you for a couple of nights.
OLGA Thank you.
From his pocket the priest pulls out a small notebook and
stubby pencil and writes a name and address down. He tears the page out of the notebook and gives it to Olga.
PRIEST If you can work, these women may
be able to help you.
He gets up and makes the Sign of the Cross over Olga and baby Marie.
PRIEST
God bless you my children.
EXT. OUTSIDE - WIMBLEDON BABY PRIVATE NURSERY - DAY
At the end of a long cobbled drive is a large detached house with well-kept lawns and flower beds. A sign outside
the house reads WIMBLEDON BABY & TODDLER PRIVATE NURSERY.
Proprietors: SISTER J WARNER and SISTER A PATEMAN
Olga stands in front of the building carrying a straw basket.
31
INT. WIMBLEDON NURSERY - OFFICE - DAY
Olga sits in a large dusty room with her straw basket beside her. Papers and files cover two desks. The room is
chaotic. Sunlight pours into the office highlighting dancing particles of dust in the air. In the background is
the sound of children laughing and playing.
SISTER PATEMAN, wears a nurse's uniform, 35, reed thin, hair worn in a bun on top of her head, efficient and
immaculately presented, sits behind one desk. She looks out of place in the office.
SISTER WARNER, 40, wears a nurse's uniform, short, no nonsense, stout, a walking chaos of a woman, sits behind
the other desk.
Both study Olga.
SISTER PATEMAN This is a private nursery for
toddlers and babies whose mothers are away helping the war effort.
SISTER WARNER We need someone to help look after
the babies. Do you like babies Olga?
Without averting her glance from Sister Warner, Olga brings
the straw basket closer to her.
OLGA
Oh yes, very much.
Sister Pateman gets up from her desk and walks over to Olga. She bends over the basket and pulls back the blanket
to see Baby Marie smiling back at her. She turns to Olga.
SISTER PATEMAN May I?
Olga hesitates and then nods. Sister Pateman lifts Baby Marie out of the straw basket.
SISTER WARNER
She doesn't look like you Olga.
Olga becomes anxious.
OLGA Her father is English.
Olga reaches out to take Baby Marie from Sister Pateman.
32
OLGA
Please, give me my baby back.
With Baby Marie clutched tightly in her arms, Olga relaxes.
SISTER WARNER
Is your husband in the Services?
Olga pauses before she answers.
OLGA I'm not married Sister. Please give me a chance. I
promise I will work very hard and don't mind what I do.
SISTER PATEMAN
Who will look after Marie if you work here?
OLGA
Well, Marie could come too? You wouldn't even know she was here and I'll work extra hours to cover
her keep. Please Sisters!
INT. WIMBLEDON NURSERY - DAY
On the ground floor is the bathroom, nursery and a door with a sign BASEMENT - NIGHT NURSERY.
The nursery is painted in pastel colours with pictures of baby animals.
Eleven cots are lined up in a row each one containing a
baby wrapped tightly in a blanket. The baby's name is displayed at the end of the cot.
Olga wears a white smock and walks down the line of cots
reading the names. She stops when she comes to the eleventh cot and smiles.
The name reads MARIE.
Olga picks up Baby Marie, kisses and cuddles her.
OLGA My beautiful little girl. We're
safe here. No one's going to take you from me. I promise you I will
never, never, EVER let anyone take you from me.
33
MARY, 45, plump, maternal, wears a blue overall and makes
up the feeds for the babies.
MARY
She yours?
Olga smiles and nods.
MARY (CONT'D) Well ain't you the lucky one! It's
cos there's a shortage of domestic servants. That's why they let you bring 'er.
Olga bristles at being called a servant.
OLGA
I'm not a servant.
MARY You one of 'em unmarried mothers?
Olga disguises her panic with righteous indignation.
OLGA Certainly not! I'm a widow.
Mary pours formula into four bottles.
MARY
Sisters 'll kill me if they catches me making up more 'an one feed at a time.
Mary looks at Olga.
MARY (CONT'D)
G'won, grab a bottle an' a baby an' start feedin'.
Olga gently picks up the baby, then a bottle, sits in a
chair and starts to feed the baby.
MARY (CONT'D)
Oh 'ere you can manage two of 'em 'else it takes forever by the time
we've barfed 'em an' dressed 'em.
Mary picks up another baby and a bottle, props the baby in the crook of Olga's other arm and puts a bottle in each of
the babies' mouths.
MARY (CONT'D) That's the ticket.
34
Olga sits feeding both babies blissfully happy.
INT. GARDEN - NURSERY - AFTERNOON
It is a beautiful warm sunny afternoon and Olga has a
visitor.
Moores dressed in civilian clothes is visiting Olga. They sit alone in the children's garden on a bench.
The girls are happy to see each other. Moores takes Olga's hand.
MOORES
I've been worried about you Olga.
OLGA We're fine Moores. This is a good
job and I'll work hard. I don't care what work I do as long as I
can keep Marie with me. I couldn't live if I lose her.
MOORES But how are you going to manage
with Marie on your own?
OLGA I'm not alone Moores. I have the
Lord with me.
Moores rolls her eyes.
OLGA (CONT'D)
Oh Moores, it is so good to see you. Are you qualified yet? Tell
me all your news Moores - and Ethel, how is dear Ethel?
INT. NURSERY - OLGA'S BEDROOM - DAY
Olga picks up her Bible, the blade of straw poking out, and
takes the family photograph and leans it against her statue of the Virgin Mary.
Olga writes a letter to her mother.
(V.O.)
Darling Mammie I have wonderful news for you.
You have a granddaughter. She is the sweetest dearest little girl.
35
Her name is Marie and I long for
the day I can bring her home.
Olga thinks for a few seconds, picks up her letter and
tears it into little pieces. She puts the pieces in her pocket.
INT. BASEMENT BABY NURSERY - NIGHT
Olga sits at a table writing up the babies’ reports. All the babies sleep.
Olga hears a strange whizzing and crackling sound coming from one of the cots. Olga gets up from the table and
walks slowly down the row of cots checking each baby.
Olga approaches the last cot. Baby Marie struggles to breathe.
Olga stands in shock.
Baby Marie continues to emit a rattling sound as she struggles to breathe. Olga grabs Baby Marie and rushes
upstairs and bangs hysterically on the office door.
OLGA Sisters, help! Marie can't
breathe.
Sister Pateman opens the door. She hears the rattling and immediately takes in the gravity of the situation.
Sister Pateman feels Baby Marie's forehead.
SISTER PATEMAN She's burning up.
SISTER WARNER
It could be pneumonia.
Sister Warner snatches the baby from Olga's arms. Realizing the danger, Olga slumps against the wall.
The Sisters crackle with efficiency.
SISTER WARNER We need to get Marie into one of
the bathrooms.
SISTER PATEMAN I'll prepare it. You bring Marie.
36
SISTER WARNER
Olga, you go back to the babies. We'll look after Marie.
Olga looks vacantly at Sister Warner.
SISTER WARNER (CONT'D) Olga, do you hear me?
Olga pleads with Sister Warner.
OLGA Please, save my baby!
Sister Warner runs to the bathroom.
Olga goes to her bedroom in a daze. She takes her rosary
beads from under her pillow. She makes the sign of the cross.
She returns to the nursery and slowly checks each baby
listening to their breathing. When Olga is satisfied they are all breathing normally, she sits on the stairs outside the bathroom clutching her rosary beads and waits.
An air raid siren goes off.
Olga rushes to the bathroom and stands outside the door
wanting to go in but doesn't. She returns to the nursery and sits on the steps.
Olga hears the distance sound of a low buzzing noise. It is a doodlebug. As the buzzing gets louder Olga puts her
hands over her ears. Then silence.
OLGA (counting on her
fingers) One, two, three, four, five, six,
seven, eight, nine, ten.
The bomb explodes in the distance followed by more bombs exploding in the distance. After a while the "all clear" sounds. Olga is relieved and makes the sign of the cross.
INT. STAIRS - CONTINUOUS
Olga goes up the stairs to the bathroom -
37
IN. HALLWAY - CONTINUOUS
And opens the door a fraction. She can barely see inside. It is hot and full of steam.
SISTER WARNER
Close the door! You're letting the steam out.
Olga shuts the door and returns to the basement.
INT. BABY NURSERY: BASEMENT - CONTINUOUS
Olga sits on the steps and with her rosary beads in her
hands starts to pray.
THE NEXT MORNING
Olga lies awake on her bed. The basement door opens and
Sister Pateman appears exhausted, hair lank from the steam. Olga rushes up the steps. A smiling Sister Pateman hands Baby Marie to Olga.
SISTER WARNER
Your prayers were answered. Marie's temperature is back to
normal. She's a lucky little girl Olga.
FAST FORWARD - FIVE YEARS
EXT. NURSERY GARDEN - DAY
Olga sits on a bench watching over the children playing in the garden.
Moores appears and sits down beside Olga. She wears her
nurse's uniform.
Olga is ecstatic at seeing Moores.
OLGA
Oh Moores, it is so good to see you.
In Olga's excitement at seeing Moores she doesn't notice
her somber mood.
Moores takes out a newspaper cutting from her pocket. She hesitates before she shows it to Olga.
38
MOORES
It's Dr John Edward's obituary.
Olga stares at the cutting in disbelief.
MOORES (CONT'D)
Apparently he fell off a railway station platform into the path of
an oncoming train. The coroner said it was probably accidental
although no one is sure. Some of his colleagues think it was suicide. Maybe he felt guilty?
Moores gives the cutting to Olga.
MOORES (CONT'D)
He got what he deserved for ruining your life.
Olga studies the cutting carefully. Olga tears up the paper
into tiny little pieces and puts the pieces in her pocket.
OLGA
Oh Moores, he robbed me of so much in just a few minutes. Not just my
innocence but my dreams too. (pause) But I forgive him Moores,
because from that awfulness came such beauty.
MOORES You know Olga, the world would be
a better place if more of us had your moral courage and integrity.
Moores stands up to leave. Moores calls out to CHILD
MARIE,5.
MOORES (CONT'D) Bye Marie!
Child Marie runs up to Moores and jumps into her arms and smothers her with kisses. Laughing, Moores puts Child Marie
down.
Moores gives Olga a kiss on the cheek.
MOORES (CONT'D) Stay in touch, Olga.
39
EXT. WIMBLEDON NURSERY - GARDEN - DAY
Olga wears a blue dress and a matching blue ribbon in her hair. She looks pretty, happy and relaxed. Children play on
the slide and seesaw watched over by two middle aged women, JANE and ANNIE.
Mary carries a tray of tea into the garden and puts it on
the table.
MARY On beautiful days like this you forget there’s a war still on,
don't you Olga?
Mary pours a cup of tea for Olga and passes it to her.
MARY There you go my dear.
Mary plops herself down into a chair.
MARY You’re a brave girl Olga. Widowed
and all. I've enjoyed working with you these years Olga
(pause to take a gulp of tea)
and watching Marie grow. We work well together don't you think?
Olga smiles nodding in agreement.
MARY (CONT'D) It can’t be easy bringing up a
child on your own. So far away from your Ma and family and what
with this bloody war going on.
Olga feels content and relaxed. She looks over and smiles at CHILD MARIE who is dancing, twirling round and round.
OLGA It is hard Mary and although I
have Marie, sometimes the loneliness is simply awful.
Olga hesitates before she speaks.
OLGA (CONT'D)
I’m not a widow Mary?
Mary holds her cup and saucer and continues to drink her tea. She doesn’t respond, doesn't react.
40
OLGA (CONT'D)
Something bad happened to me.
Anguish is written all over Olga's face.
OLGA (CONT'D)
I was raped Mary.
Mary pauses before she puts down her cup and saucer. She takes a deep breath.
MARY You're not married! You're not a
widow!
OLGA No. I was raped Mary.
MARY
Well, if that don't take the cake!
Mary's demeanor completely changes. Her face is contorted with disgust.
MARY (CONT'D) You slut! You little slut!
Olga's voice quivers
OLGA
It wasn’t my fault Mary.
MARY
(mimicking) It wasn't my fault Mary.
There is no stopping Mary.
MARY
Of course it was your fault! Encouraged him did you! Flirted
with him, teased him and let him touch you and when the poor man couldn’t help himself any longer,
you opened your legs and let him in. Of course it was your fault,
you slut.
Olga puts her hands over her ears.
OLGA Stop it, stop calling me that.
Mary is spitting as she speaks.
41
MARY
If you were my daughter you’d never set foot in my house again.
Mary gets up and storms off. Olga sits traumatized by Mary’s outburst.
MOMENTS LATER
The silence is shattered by the sound of church bells being run far and wide. Sisters Pateman and Warner run into the garden.
SISTER PATEMAN
It's over! The war's over.
Olga, Jane and Annie look on in disbelief.
SISTER WARNER It's true. The Germans have
surrendered. The war's over!
Jane grabs hold of Annie and hugs her. Sister Pateman
joins them. All laughing and dancing with joy. The air is filled with noise. Church bells ringing far and wide and
car horns blaring.
Olga doesn't react. Sister Warner runs to her.
SISTER WARNER It's true Olga. The war's over. You and Marie can finally go home
to Jamaica.
Child Marie runs over to her mother and climbs onto her mother's lap.
Olga plays with the crucifix around her neck.
INT. SISTERS' OFFICE - DAY
Olga and the two Sisters are in the office.
SISTER WARNER
Now that the war is over Mothers will be returning home to collect
their children.
Olga senses that bad news is coming. There is silence for a few seconds.
42
SISTER PATEMAN
That's right. There won't be any work for you here soon, I'm afraid Olga.
Olga starts to fiddle with her crucifix.
SISTER WARNER
There's nothing to stop you from going home Olga. We will do
whatever we can to help you.
Olga tries not to reveal the panic she is feeling.
OLGA
Thank you Sisters. You're very kind but my good friend Moores
will help me if I need it, so Marie and I will be fine.
Olga looks out of the window watching with tenderness her
daughter in the garden dancing among the flowers, pirouetting round and round and round.
FAST FORWARD TWO YEARS
EXT. GARDENS - A PARK - DAY
Olga sits on a bench watching Child Marie, 7, dressed beautifully in a pretty pink dress and white cardigan, pirouetting on the grass.
Beside Olga, on the bench, is a half-eaten bun and a
newspaper opened at the Situations Vacant page. Her attention is taken by a family having a picnic on the grass
nearby.
The mother, fair, not much older than Olga, slender built and wearing a fashionable fitted pale blue dress with
buttons down the middle and a small white peter pan collar. She wears a small pill box hat.
The father, 30, well built, with an air of dependency and reliability, is attentive to both his wife and their
daughter.
Their little girl, 7, short curly blonde hair, the image of her mother, is laughing at something her father says to her
while her mother looks on adoringly at her.
43
Olga looks away. She is envious. She looks back at the
family and the mother looks at Olga. They smile at each other.
Marie picks up the half-eaten bun holding it out to Olga.
CHILD MARIE Do you want a bite Mummy?
OLGA
No, darling. It's all for you.
Marie runs off with the bun to continue her dancing.
Olga picks up the newspaper beside her. She spots an
advertisement.
INSERT - ADVERTISEMENT
for a job.
OLGA (V.O.) Nanny required to assist widow with the care of young sickly
child. Apply Mrs Gloria Hammell, Cheyne Walk, Chelsea.
Olga ticks the advertisement.
EXT. HOME OF GLORIA HAMMELL - DAY
Olga and Child Marie stand at the front door of an elegant
house. Olga takes hold of the silver knocker and knocks. No response. Olga goes to knock again when the door opens.
MRS GLORIA HAMMELL, middle aged, rich, chic, blond and
always impeccably turned out, opens the door. Olga smiles at her. Marie stands behind Olga.
OLGA
Good morning Madam. I've come about the position.
Gloria Hammell is visibly shocked at the sight of Olga.
MRS HAMMELL You're coloured!
Olga is taken aback by Mrs Hammell's outburst.
OLGA
Yes, I’m sorry.
44
MRS HAMMELL
If I'd known -
She pauses.
MRS HAMMELL
Well, you're here now. You'd better come in.
Marie hangs on to her mother's coat.
MRS HAMMELL Just a minute! Who's this?
Olga takes Marie's hand.
OLGA
(proudly) My daughter. Say hello to Mrs
Hammell, Marie.
Marie smiles shyly. Mrs Hammell looks at Marie and then back at Olga, raising an eyebrow.
MRS HAMMELL Yours? Really?
INT. MRS HAMMELL'S SITTING ROOM - DAY
Olga and Marie sit in an elegant room full of antiques.
The sofas and armchairs are big and comfortable with an
occasional table on either side each with a bronze table lamp. On a table is a large silver framed photograph of Mrs
Hammell with a pretty little blond girl.
OLGA You have a beautiful home.
Mrs Hammell looks around the room with obvious
satisfaction.
MRS HAMMELL
Yes, I've found there's almost nothing you can't buy when you
have money.
Her attention returns to Olga.
MRS HAMMELL You're a widow too?
45
Olga hesitates. She touches the crucifix around her neck
before answering.
OLGA
Yes.
Mrs Hammell pauses for a moment and looks up at Olga, unsure whether to believe her. Olga looks at a silver charm
bracelet Mrs Hammell wears. Mrs Hammell notices and reacts touching it protectively.
MRS HAMMELL I need a domestic servant who can
also help look after my daughter Madeleine. As a baby she was very
ill and it has left her with weak legs so she struggles to walk.
MADELEINE, pretty, similar age as Marie, long blond hair,
pale, friendly, wearing calipers on her legs and walking with the aid of crutches, enters the room. It is the little
girl in the photograph with Mrs Hammell.
MADELEINE
What are you doing Mummy?
Mrs Hammell's face softens when she sees her daughter whom she clearly adores. Under Madeleine's arm is a doll. She
drops the doll. Marie immediately runs over and picks it up, shyly handing it to her.
Madeleine smiles at Marie, sits down in one of the armchairs and pats the space beside her for Marie to join
her. Marie looks questioningly at Olga.
Olga looks at Mrs Hammell. Mrs Hammell watches the scene between the two children and her demeanour softens.
MRS HAMMELL
Madeleine, this is Olga. Olga is going to live with us and help
make you strong.
Madeleine smiles at Olga. They like each other. Madeleine
looks at Marie.
MADELEINE And her too, Mummy?
Olga sits motionless, holding her breathe.
46
MRS HAMMELL
Yes, Madeleine, Marie too. It'll be nice for you to have a little friend to play with.
INT. HALLWAY - DAY
Gloria Hammell shows Olga and Marie to their room at the same time enjoying showing off her opulent house to them.
In the hallway is a grandfather clock. Just as Mrs Hammell, Olga and Marie are about to go upstairs, the clock
chimes causing Olga to jump in fright.
Child Marie giggles.
Each side of the staircase pictures hang on dark rich wood paneling, Rembrandt and Reynolds type paintings.
Pointing to the paintings as they go up the stairs.
MRS HAMMELL My ancestors.
They reach the first floor landing. Through an open door
Olga and Marie get a glimpse of Mrs Hammell's luxurious master bedroom, with its rich cream deep pile carpet. Olga
and Marie exchange looks of amazement not having seen such luxury before.
At the other end of the corridor is another bedroom with the door open. Beautifully furnished in pink and white.
MRS HAMMELL (CONT'D)
My daughter's room.
Marie's eyes open wide in astonishment at all the cuddly toys and dolls in the room, Madeleine's bedroom.
As they reach the second floor Marie looks down and sees
Madeleine at the bottom of the stairs looking up. They smile at each other.
Mrs Hammell opens a door that leads into another comfortably furnished bedroom, Olga and Marie's.
INT. OLGA & CHILD MARIE'S BEDROOM (CONTINUOUS)
All three enter the bedroom.
47
It is a big, clean, bright, nicely furnished, a comfortable
room with a large double bed and a big comfortable armchair.
MRS HAMMELL Better than you're used to I'm
sure.
OLGA It's very nice Madam.
MRS HAMMELL I'll leave you to unpack.
Servants have dinner at 6 pm sharp.
OLGA
Yes Madam.
Mrs Hammell leaves.
Marie throws herself into the big armchair and looks admiringly around the room.
Olga opens her suitcase and takes out her Bible, with the blade of straw, the statue of the Virgin Mary and her
rosary beads.
On the dressing table she places a jar containing a handful coins marked 'TREATS FOR MARIE'.
LATER
Olga and Marie sit together in the big comfortable armchair.
OLGA
We're going to be very happy here Marie.
CHILD MARIE
You said that about the other places we lived in Mummy.
OLGA I know, but this is going to be
different.
CHILD MARIE Did you live in a nice house like
this with your Mummy when you were a little girl?
48
OLGA
It wasn't as grand as this but it was nice. Everything is going to be fine Marie, and Madeleine and
you will be best friends.
Marie snuggles closer into Olga putting her arm around her.
CHILD MARIE No Mummy. You're my best friend
in the whole wide world. Only you.
INT. MRS HAMMELL'S SITTING ROOM - EARLY MORNING
With newspaper spread out on the carpet, Olga, wearing an overall, is on her knees sweeping out the ashes from the
fire grate. Once clean, she screws up newspapers, adds some logs from the nearby basket and, after many attempts,
lights a fire.
INT. MRS HAMMELL'S KITCHEN - MORNING
A kitchen dresser with cupboards and shelves above holds most of the essential cooking equipment. Copper pots and
pans hang from a steel rod that runs from the ceiling. A kettle boils on the Aga.
MRS ATTWOOD, the cook, 50, motherly, plump, grey hair,
cooks breakfast. Olga, wearing an apron, enters the kitchen.
MRS ATTWOOD Mrs Hammell ready for her
breakfast Olga?
OLGA Yes and Madeleine.
Mrs Attwood puts cooked breakfast food onto a silver
platter.
MRS ATTWOOD
Take it in while its 'ot, dearie.
Olga carries the platter into the dining room.
INT. DINING ROOM - CONTINUOUS
Olga serves Mrs Hammell and Madeleine from the platter.
49
Marie, dressed in her school uniform, shyly pokes her head
around the door. Olga sees her and indicates to Marie to go away. Madeleine sees Marie.
MADELEINE Mummy, can Marie have breakfast
with us.
OLGA Marie's had breakfast and she has
to go to school Madeleine.
CHILD MARIE
I'm still hungry, Mummy.
MRS HAMMELL It's fine Olga. Marie, come and
sit beside Madeleine.
Marie happily joins them at the table.
OLGA Yes, Madam.
MRS HAMMELL Olga, Madeleine would like to go
to the zoo.
Gloria Hammell sees from Marie's expression that she would like to go too.
MRS HAMMELL In fact, if you take Marie with
you, you can all get to know each other. What do you think
Madeleine?
MADELEINE I think that's a very good idea
Mummy.
Marie and Madeleine exchange excited looks smiling at each other.
Olga serves her daughter breakfast as Marie happily settles into luxury.
50
EXT/INT. ENTRANCE TO MARIE'S SCHOOL
Olga and Madeleine stand outside an expansive, stone, two story, Victorian building. In front of it is a sign
Blessed Sacrament Convent.
They have come to meet Marie from school. Marie comes out of school, sees them and runs over to them.
OLGA
Madeleine, I've got to go in to see the Miss Bernadette to enroll Marie in her dance classes.
Olga takes the girls over to a bench. They immediately
start chatting and giggling with each other.
OLGA Please, sit there like good girls
and wait for me. I won't be long.
Olga disappears into the school.
MADELEINE
Who's Miss Bernadette?
CHILD MARIE My Headmistress.
A young blonde girl, SUSAN, 7, walks past Marie and waves
to her. Marie waves back.
CHILD MARIE
That's my friend, Susan. We sit next to each other in class.
MADELEINE
I wish I could go to school. It's no fun having a private tutor.
EXT. A ZOO DAY
Olga, Madeleine and Child Marie are at the zoo. Marie is holding
her mother's hand. A large crowd, mainly children, have gathered around an enclosure.
MADELEINE
Marie, what's happening up there?
Marie runs ahead while Madeleine, wearing calipers and using crutches, and Olga follow slowly behind.
51
A ZOO KEEPER, uniformed wearing a cap, friendly, is talking
to the people gathered around. The girls squeeze their way to the front of the enclosure. In front of them is a pen in which is black and white collie dog and three tiger
cubs, five weeks old.
ZOO KEEPER
The triplets are five weeks old and
have been rejected by their mother, Memsahib, so JESSIE here is their foster mother for the time being.
Laughing children are hanging over the pen, including Marie and Madeleine, watching the cubs and Jessie. The cubs are full of
beans and play with each other one moment. The next they're clambering all over Jessie who sits patiently in the corner
allowing them to play.
Little hands reach down to try and pick up a cub. The cubs in turn are trying to reach the children hanging over the pen. Olga looks on mesmerized by the scene.
OLGA
How beautiful!
Madeleine is hanging over the pen desperately trying to pick up a cub when she nearly falls in. The Zoo Keeper grabs her just
in time.
OLGA Oh, Madeleine, you scared me. You could have been hurt.
MADELEINE
It would have been worth it Olga just to hold one.
Marie turns to her mother.
CHILD MARIE Isn't that sad Mummy? The cubs’ mummy
didn't want them.
CHILD MARIE (CONT'D) (precociously)
Honestly, can you imagine a Mummy not wanting her babies!
Olga looks at Marie with great tenderness.
OLGA No, Marie, I can't imagine.
52
INT. MADELEINE'S BEDROOM - NIGHT
Olga massages Madeleine's legs.
MADELEINE Do you think I'll ever walk
properly, Olga?
OLGA Massaging your legs will help
Madeleine. My Mammie used to do this for me when I was a little girl.
Marie plays with a music box. She winds it up and watches
with delight as a little ballerina dances round and round to the music.
Mrs Hammell is flicking through Madeleine's wardrobe packed
with clothes.
MRS HAMMELL Madeleine, we'll be going shopping for new clothes for you soon.
She takes out two very pretty dresses with matching cardigans.
MRS HAMMELL (CONT'D)
Why don't we give these to Marie? You've got so many clothes. What do you think?
Madeleine is a sweet natured child who has become close to
Marie.
MADELEINE Yes, Mummy. Marie will look lovely
in them. What else can we give her?
Marie is excited and looks hopefully at Olga. Olga knows that Marie will be disappointed if she doesn't accept the
clothes so against her better judgment does.
OLGA That's more than enough. Thank you
Madam, and you Madeleine.
As Mrs Hammell leaves the room.
53
MRS HAMELL
Good, that's settled. Marie will look less like a poor relation when you take the girls out
together Olga.
Olga bristles at the remark.
Olga finishes massaging Madeleine's legs and wipes her hands on a cloth. Madeleine struggles to stand up. Olga
gently helps her.
MADELEINE
I like being with you and Marie, Olga.
In response Olga plants a kiss on Madeleine's forehead.
Marie puts the music box back onto the dressing table.
MADELEINE (CONT'D)
You can have that too, Marie.
Marie looks surprised. She looks at Olga.
OLGA
(gently) No Madeleine, but perhaps Marie
can play with it when she's in your room.
Marie's face show disappointment.
INT. KITCHEN - DAY
An array of Gloria Hammell's extensive dining silverware is
on newspaper waiting to be polished. Mrs Attwood polishes a candelabra.
Olga stands at the stove stirring the contents of something
cooking in a saucepan. Olga tastes the contents of the saucepan.
OLGA Not quite ready yet, Mrs Attwood.
MRS ATTWOOD
Fancy Olga, you'll soon be as good a cook as me.
Thick homemade thick biscuits Olga made earlier sit on a
plate on the sideboard.
54
Madeleine and Marie enter the kitchen.
MADELEINE (excitedly)
I could smell the biscuits all over the house. Please can we have
one?
CHILD MARIE They're Mummy's special biscuits,
Madeleine and they're delicious.
MRS ATTWOOD
Special recipe are they Olga?
OLGA My mother used to make them for me
when I was little girl. They're Jamaican - Bulla biscuits.
Smiling at the girls Olga offers them each a biscuit.
Taking one they skip happily out of the kitchen.
MRS ATTWOOD
It must be 'ard for you bringing up Marie alone.
OLGA
Do you wish you'd had children Mrs Attwood?
MRS ATTWOOD Lord No. I 'ated that side of
married life. Time was when I couldn't even bear George kissing
me because I knew what he was leading up to.
Olga picks up a plate. She looks at Mrs Attwood blankly.
MRS ATTWOOD
You know, the sex thing.
Mrs Attwood stands up shuddering with disgust.
MRS ATTWOOD
'Orrible, filthy thing, having to lie there while he does his
business 'specially when I could be doing the laundry.
Mrs Attwood picks up a piece of polished silver exposing
part of the newspaper underneath.
55
Olga catches sight of the newspaper's headline. She drops
the plate she is holding in her hand.
Olga stands in a state of shock.
MRS ATTWOOD
That's all right luvy. It's only a cheap plate. It's never used.
INT. HALLWAY MARTHA APARTMENT - DAY
Olga stands nervously at the door of Martha’s apartment.
She knocks on the door.
Martha opens the door. Both Olga and Martha react shocked at seeing the other.
Olga because of the change in Martha's appearance. Gaunt,
shrunken, rotten teeth, looking much older than her years and very disheveled.
Martha is shocked to see Olga not having seen or heard from her since she fled her home.
MARTHA
Whadda you want Olga? Haven't seen you for years.
Over Martha's shoulder Olga sees the apartment is dirty and
untidy.
MARTHA (CONT'D)
I'd invite you in, but you know how it is. It’s hard to find good
help. As you can see, I’ve fallen on hard times.
She holds out her hands for Olga to see.
MARTHA (CONT'D)
Arthritis.
Olga shows the newspaper headline.
INSERT - NEWSPAPER HEADLINE
"KINGSTON SMASHED BY HEAVY STORM, OVER 100 DEAD! THOUSANDS
HOMELESS!"
OLGA Have you heard from the family,
Aunt Martha?
56
A little smile creeps onto Martha's face then quickly
disappears.
MARTHA
Why are you asking me about the family, Olga?
Olga takes a sharp intake of breath as Martha moves closer
to Olga recoiling from the smell of Martha's breath.
MARTHA (CONT'D) Why don’t you ask them yourself Olga? Or do you have a secret
Olga?
Olga says nothing.
MARTHA (CONT'D) Why did you leave here like a
thief in the night, Olga? You left me high and dry my girl. I was
counting on your rent for my essentials. No goodbye and no bloody money! Why, Olga?
MARTHA (CONT'D)
(eyes narrowing) Cat got your tongue, Olga? You
don’t have to tell me your secret Olga, I know it. I phoned the
hospital and after a bit of digging around, I discovered you’d been kicked out because you were
pregnant. You had a baby didn’t you Olga. Mammie’s favourite
little girl got herself a little bastard child. That's why you
haven’t gone back to Jamaica?
At the mention of her mother Olga puts her hands over her ears.
And then Martha comes in for the kill.
MARTHA Your poor mother.
Martha stops her ranting momentarily and smiles.
MARTHA
It’ll break her heart when I tell her the shame you’ve brought on
this family.
57
Distraught Olga turns and runs.
INT. OLGA'S BEDROOM - DAY
Olga still wears her coat having returned from her Aunt
Martha's. She sits forlornly on the edge of her bed.
Olga picks up the family photograph, looks lovingly at it and kisses her mother. She clutches it to her chest quietly
sobbing.
INT. HALLWAY - GLORIA HAMMELL'S HOME
Olga comes down the stairs carrying a laundry basket full of dirty clothes.
In the hallway at the bottom of the stairs Mrs Hammell
holds some letters. She pays attention to one in particular.
Mrs Hammell sees Olga.
MRS HAMMELL Olga! A letter for you.
Olga's hurries down the stairs to get her letter.
Mrs Hammell reads the back of the envelope.
MRS HAMMELL (CONT'D) From Miss Ann Moores.
Olga's face lights up as she struggles to hold the laundry
basket with one hand holding out the other to take her letter. Mrs Hammell holds on to the letter.
Pointing to the sitting room door.
MRS HAMMELL (CONT'D)
In there!
The both enter the sitting room.
INT. SITTING ROOM - MOMENTS LATER
Olga stands in front of Mrs Hammell still holding the laundry basket.
MRS HAMMELL (CONT'D)
Do you have any idea what an address such as mine costs to buy,
58
not to mention to maintain? Or
what class of people live here?
Olga says nothing concerned that Mrs Hammell will not give
her the letter.
MRS HAMMELL (CONT'D) I live among people like myself,
Olga, wealthy people, aristocratic people, the cream of society one
might say. Like with like, Olga. Using my address gives the impression you are a woman of
substance which we both know is not the case. You are a domestic
servant. Please remember that. (pause)
Because Madeleine is making progress with you and is very fond
of Marie, I will overlook your arrogance on this occasion.
Olga is so desperate to get her hands on the letter she doesn’t react to the insult.
OLGA
Yes, Madam. I won't use this address again.
Olga almost snatches the letter out of Mrs Hammell's hand.
MRS HAMMELL One other thing, can you make sure
when you’re cleaning that the pictures hang straight?
She points to a country scene painting.
MRS HAMMELL (CONT'D)
Nothing irritates me more than seeing a painting that is crooked
hanging on a wall. Don't you agree?
Olga is about to leave when she remembers something.
OLGA My wages were short this week,
Madam.
MRS HAMMELL Yes, I believe you broke a plate.
Without missing a beat.
59
OLGA
It must have been an expensive plate!
MRS HAMMELL Nothing is cheap in my home.
Alright then. Busy day for me. Hairdresser, manicure and a light
lunch at the Savoy,
She gets up to go.
MRS HAMMELL
Don't forget the painting Olga.
Mrs Hammell sweeps out of the room.
Olga put down the laundry basket and hurriedly opens the letter from Moores. She reads it anxiously.
INSERT - LETTER
"DEAR OLGA. IN HASTE. MEET ME AT THE COTTAGE TEAROOMS. LOVE MOORES."
Olga stuffs the envelope and letter in her pocket.
Olga goes over to the crooked painting and straightens it.
As she passes the painting of Gloria Hammell she gently flicks the corner of the painting so that it is crooked.
INT. COTTAGE TEAROOM - AFTERNOON
Olga enters the elegant tearoom. She wears her best dress.
She looks around for Moores who hasn't arrived yet.
Olga sits down at a table in the center of the restaurant. A waitress approaches.
WAITRESS
You have to move to another table. This one is reserved.
Olga looks surprised.
OLGA There was no reserved sign on it.
The waitress's voice rises.
WAITRESS
Well, it is, so there! Go on. Move!
60
The waitress points to a table tucked away in the corner of
the restaurant. Olga stands up.
OLGA
You know, civility costs nothing.
Olga moves with as much dignity as she can muster.
Moores enters the tea room, beautiful and elegant. She looks around the restaurant for Olga. Olga waves Moores
over and they hug.
MOORES
Olga, I know you don't like to draw attention to yourself, but,
honestly, do we have to sit in the corner?
The same waitress that spoke to Olga appears at their
table. She looks at Moores and smiles.
WAITRESS Afternoon tea Madam?
Moores nods her head but still studies the menu.
WAITRESS (CONT'D) And for your maid Madam?
Olga lowers her gaze and starts fiddling with her hands on
her lap. Moores looks up and gives the waitress a cold stare.
MOORES I've no idea. I'll ask her when I
get home, but in the meantime, my friend and I will have afternoon
tea.
The waitress blushes. Moores snaps the menu shut loudly and without looking at the waitress hands it to her
dismissively.
Moores takes a letter out of bag and hands it to Olga.
Olga recognises her mother's handwriting. She studies the
envelope concerned that Martha may have told the family about her situation.
INSERT - ENVELOPE WITH A JAMAICAN STAMP
"MISS OLGA BROWNEY, C/O ST MARY'S HOSPITAL, PADDINGTON,
LONDON, ENGLAND."
61
OLGA
What date was it posted Moores? I can't see it clearly.
Moores peers at the envelope.
MOORES Ages ago. Obviously got lost in
transit before it reached the hospital.
Olga looks relieved.
MOORES I take it you're not going home to
Jamaica? For Marie's sake, don’t you think you should contact your
family.
OLGA No. I know I'm a coward Moores but
I can't face Mammie. My life has changed so much. I’m not ashamed of having Marie, but I wish the
circumstances had been different and I can’t talk about it to
anyone, except you. That’s just the way it is.
Moores becomes exasperated.
MOORES It wasn't your fault, Olga.
OLGA
Look Moores, I’ve got a good job. We have a roof over our head and
Marie is very happy. I can't forget what it was like during the
war. The uncertainty. Life was a pendulum swinging between terror
and fear. Terror of being blown to bits and fear of losing Marie. Well, both have gone now Moores.
We're together and we're safe.
INT. BEDROOM - EVENING
The bedroom door bursts open and Olga rushes in clutching
her letter. She sits down and tears the letter open. As soon as she starts to read it she begins to cry. The
letter is from Mammie.
62
MAMMIE (V.O.)
Dear Olga. Why haven't you written to us? It's been such a long time since we heard from you.
Have you forgotten us? We miss you Olga. We talk about you all the
time. Please tell us how you are getting on.
Olga continues to read the letter, tears rolling down her
cheeks. Eventually she folds it and puts it back in the envelope. She throws herself across her bed sobbing uncontrollably.
INT. MADELEINE'S BEDROOM - DAY
Olga makes Madeleine's bed. Marie is checking out the bedroom.
CHILD MARIE
I wish I had a bedroom like this. Madeleine doesn't have to sleep with her Mummy.
OLGA
Help me make the bed, Marie. Tuck the blankets in that side.
Marie ignores her mother. She looks in Madeleine's wardrobe
examining her clothes.
CHILD MARIE
Oh, they're all so beautiful.
Pointing to the other side of the bed.
OLGA Marie, just tuck the bedclothes in
that side.
Marie walks towards the door.
CHILD MARIE
I'm not a servant. I wish I could sleep here with Madeleine.
OLGA
(anxiously) Won't you be lonely without me?
CHILD MARIE
Not really Mummy. Madeleine's my best friend.
63
INT. MRS HAMMELL'S SITTING ROOM -DAY
Mrs Hammell and Madeleine, wearing her calipers, are
watching Marie dancing. Marie stops and holds out her hands to Madeleine to join her.
CHILD MARIE
C'mon Madeleine. Show your Mummy what we can do.
MRS HAMMELL Perhaps not, Marie. Madeleine
might hurt herself.
MADELEINE I'm fine Mummy.
Madeleine slowly gets up and unsteadily walks the few steps
to Marie. Marie begins humming and together they dance a slow waltz.
When they've finished Mrs Hammell claps her hands enthusiastically, ecstatic to see her daughter dancing
albeit ungainly.
MRS HAMMELL And I didn't realise you liked
dancing so much Marie.
MADELEINE
Marie's going to be a swan in the ballet concert at her school
Mummy.
CHILD MARIE (shyly)
I love dancing and so does Madeleine.
MRS HAMMELL Then you shall both have private
dance lessons.
Marie looks anxious.
MRS HAMMELL (CONT'D) Don't worry about Olga. I'll speak
to her.
64
INT. OLGA'S BEDROOM
Olga and Marie stand looking at the new clothes laid out on the bed still with their price tags on.
CHILD MARIE
Mrs Hammell bought these for me. Aren't they lovely Mummy?
OLGA
(shaking her head) No. This is not right.
Ignoring her mother Marie picks up the clothes and examines them with great excitement.
Olga tries to take the clothes from Marie who resists
strongly.
Mrs Hammell walks into the bedroom.
MRS HAMMELL What's going on?
OLGA (firmly)
Thank you Madam, but I cannot accept these.
Olga picks up the clothes and holds them out for Mrs
Hammell to take.
Marie scowls at her mother.
MRS HAMMELL
I thought you wanted Marie to have nice things.
OLGA
I do but -
Mrs Hammell interrupts.
MRS HAMMELL
Good, that's settled.
MRS HAMMELL The girls are going to be late for
their dance class Olga. Chop, chop!
Marie runs out followed by Mrs Hammell leaving Olga holding
the clothes.
65
MOMENTS LATER
MRS HAMMELL'S BEDROOM
Olga enters the bedroom and leaves the clothes Mrs Hammell
bought for Marie perfectly folded on the bed.
She quietly leaves the bedroom.
INT. DANCE STUDIO - DAY
Olga waits while Madeleine, dressed in a tutu and ballet shoes, has a private dance lesson. Madeleine, wearing her
calipers, is holding on to the ballet bar with both hands doing simple foot and leg exercises with encouragement from
the DANCE TEACHER, young, slender.
Marie, also dressed in a tutu, sits sullenly next to Olga. She has finished her lesson.
The dance teacher comes over to Olga and Marie, at the same time keeping one eye on Madeleine at the bar.
DANCE TEACHER
Have you told your mother how well your ballet dancing is coming on,
Marie?
Turning to Olga.
DANCE TEACHER (CONT'D)
Marie's one of my best pupils.
Marie's mood immediately changes for the better. She stands up and shows off some pirouettes and other ballet
positions.
DANCE TEACHER (CONT'D) (laughing)
Your daughter is a natural born performer.
Olga beams with pride.
Marie sits on the floor and takes off her ballet shoes.
The sound of Madeleine crashing to the floor has the dance teacher rushing over to her.
Olga and Marie look on anxiously but relax when they see
Madeleine laughing so much she cannot pick herself up off the floor.
66
MADELEINE
I'm OK.
The teacher helps Madeleine up and places her at the bar
again. With the teacher standing behind Madeleine together they simultaneously do the same exercises interspersed with
encouraging praise from the teacher.
CHILD MARIE (sulkily)
Why are you so mean to me?
OLGA
What are you talking about?
CHILD MARIE Why couldn't I keep the new
clothes?
Olga feels undermined by Mrs Hammell's generosity towards Marie.
OLGA It's my job to buy your clothes,
Marie, not Mrs Hammell's. (sighs)
As it is she's paying for these private dance lessons! Maybe I
should remind her you're my daughter.
OLGA (CONT'D) Look, Marie. I know you're fond
of Mrs Hammell and that's good. But you must remember why we live
in her house. I work for her and her home is not really our home.
One day we'll have our own home, you'll see.
Olga puts her arm around Marie.
OLGA (CONT'D) I've saved enough money now to buy
your ballet dress for the concert. We'll go together on my day off
and you can choose it. We'll have fun, I promise.
CHILD MARIE
No, I don't want to.
67
EXT./INT. BALLET DRESS SHOP - DAY
Olga peers into the window of a children's ballet dance wear shop displaying ballet dresses.
Olga enters the shop. She looks around in awe at the white
ballet dresses hanging on the dress rails. She gently touches them.
SHOP ASSISTANT (O.S.)
They're beautiful, aren't they?
A SHOP ASSISTANT, 30, kindly, stands beside Olga.
OLGA
Oh, yes, they are. I like this one. I'd like to buy it for my
daughter. Is it expensive?
The shop assistant shows Olga the price tag. Olga's eyes open wide in astonishment. She is disappointed.
OLGA I can't afford that.
The assistant points to a rail nearby.
SALES ASSISTANT
Those are on sale. They're half price.
Olga and the assistant go over to the rail. Olga sees a blue ballet dress hanging on the rail. She immediately
becomes excited and takes it off the rail.
OLGA This one. Blue is Marie's
favourite colour. She'll love it.
The assistant shows Olga the price tag.
Olga beams.
OLGA
Perfect.
INT. MRS HAMMELL'S SITTING ROOM -DAY
MRS Hammell, Madeleine and Child Marie have just had tea in
the sitting room. Olga is clearing away the dishes. Mrs Hammell looks fondly at Madeleine.
68
MRS HAMMELL
You are getting stronger darling.
MADELEINE
It's because Olga looks after my legs Mummy.
Madeleine and Olga exchange smiles.
MADELEINE
I like having Marie here Mummy. It's like Marie's my sister.
Mrs Hammell hugs her daughter tightly and puts her arm around Marie.
MRS HAMMELL
You're a lovely little girl Marie and we're very happy you're here.
Marie snuggles into Mrs Hammell. Mrs Hammell gets an idea.
MRS HAMMELL Olga, ballet dresses are so
expensive. Why don't I buy Marie a ballet dress for her concert
performance?
Without missing a beat and with great satisfaction.
OLGA Thank you Madam, but I've already bought it.
Mrs Hammell cannot hide her surprise.
CHILD MARIE
Mummy, Madeline and Mrs Hammell are coming to the concert to watch
me dance.
Olga's back is to the group so, as she leaves the room with the tea tray, they do not see the disappointment on Olga's face.
MADELEINE
Mummy, can Marie stay with us forever?
69
INT. CONCERT - CHANGING ROOM - CONVENT - EVENING
The changing room is buzzing with excitement as six young girls, same age as Child Marie, change into their ballet
dresses to dance a sequence from Sleeping Beauty. Olga is helping Child Marie get into her ballet dress. As she does
so Olga notices that the other children's ballet dresses are white.
She becomes alarmed. Olga goes over to the locker and
takes out a pale blue ballet dress with exquisite embroidery on the bodice and tiny shimmering white pearls. One or two of the children GASP when they see it.
Olga is distraught.
OLGA
It's not white, Marie.
Marie looks at the dress and then at the other children's plain white ballet dresses and then back at her own blue
ballet dress.
A YOUNG MOTHER looks at Olga and smiles.
YOUNG MOTHER
It's truly beautiful. It really is. Everyone will notice her.
Marie smiles at her mother.
CHILD MARIE I like it Mummy. It's lovely.
INT. MARIE'S SCHOOL - CONCERT HALL - EVENING
The concert hall is packed with parents and relatives of
the children.
Olga feels conspicuous because she is not dressed as smartly as the other parents. A school pupil shows Olga to one of the last remaining seats in the back row.
The bell rings for the beginning of the concert. The
orchestra is tuning up.
Olga grimaces as she sees the back of Mrs Hammell's perfectly coiffured hair in the front row with Madeleine
sitting next to her.
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A hush descends on the audience. The orchestra opens with
Tchaikovsky's nut cracker suit. The dance of the Little Swans is about to start.
The first little white swan dances onto the stage in her white ballet dress, followed by four more white swans. The
final swan, Marie, wearing her blue ballet dress, dances onto the stage. Some of the audience gasp, some titter,
when they see the blue swan.
Marie doesn't miss a step and carries on dancing.
Olga fiddles with her crucifix.
The children dance exquisitely and when they finish the
audience clap enthusiastically. Each swan takes it in turn to come to the front of the stage and curtsy to the
audience and receives a round of applause.
When it is Marie’s turn, the audience gives Marie the loudest and longest applause including Mrs Hammell and
Madeleine who are standing on their feet applauding Marie.
Olga beams with pride.
INT. CONCERT - CHANGING ROOM - CONVENT - EVENING
The changing room is crowded with a sea of white faces. Olga cannot get near Marie who, still wearing her blue
ballet dress, is hugged by Mrs Hammell and Madeleine. Marie enjoys the attention as parents and children clamber to get a better look at Marie's exquisitely embroidered ballet
dress.
Marie is oblivious to her mother as Olga stands alone at the back of the changing room.
INT. CINEMA FOYER - AFTERNOON
Olga and Marie are coming out of the cinema. They have been to see something like ANNIE GET YOUR GUN.
CHILD MARIE Why couldn't we have asked
Madeleine to come too? Mrs Hammell includes me in lots of
things.
OLGA I don't see much of you lately and
I miss you. I know you're fond of Mrs Hammell, but she's not your
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mother. Don't you think this is
nice, just the two of us together?
CHILD MARIE
Uh huh.
Olga takes a chocolate bar out of her bag.
OLGA Look, I got this for you.
Marie's face lights up as she takes it, which pleases Olga. Olga looks around the cinema and sees an advertisement for
Saturday morning Children's Cinema.
OLGA (CONT'D) Look Marie, you and Madeleine
could come here on a Saturday morning. There's enough money
left over in your Treats Jar for you to pay for Madeleine.
Wouldn't that be nice?
Marie methodically takes off the wrapper of her chocolate
bar.
CHILD MARIE Mrs Hammell says only common
children go to Saturday morning cinema. They're not for refined
children like Madeleine and me.
INT. MADELEINE'S BEDROOM - DAY
Madeleine's bedroom has changed with posters on the wall for GIRL magazine, sister paper to EAGLE. There are less
cuddly toys and more books like Enid Blyton.
Olga rubs one of Madeleine's legs. Madeleine, 9, wears her hair in a fashionable ponytail. Marie, 9, puts aside the
magazine she is reading and for fun rubs Madeleine's other leg.
They are unaware that Mrs Hammell is watching them through a barely opened door.
MADELEINE
I'm never going to be able to dance like Marie, am I Olga?
OLGA
You're improving Madeleine. You mustn't give up.
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CHILD MARIE
My school showed a film once about a little orphan boy called Peppino whose precious donkey, Violetta,
falls ill and he wants to take the donkey into the crypt of St
Francis which is in the Vatican in Rome -
OLGA
St Francis is the patron saint of animals.
Marie gives Olga a look of exasperation for interrupting.
CHILD MARIE - in the hope that this will cure
Violetta, but everyone he goes to for permission says no he can’t.
Madeleine is listening spellbound. Olga watches Marie with
great pride.
CHILD MARIE (CONT'D)
So Peppino decides to ask the Pope himself and he and Violetta have a
long and hard journey to Rome with many obstacles in his way, but in
the end the Pope says yes and Violetta goes into the crypt of St
Francis.
Marie takes hold of both of Madeleine's legs and starts
gently wiggling them about.
MARIE (CONT'D) So, you see little leggies never,
never, give up.
Olga laughs and Marie and Madeleine laugh uncontrollably.
Smiling Mrs Hammell quietly walks away.
Olga starts to hum 'He's Got the Whole World In His Hands'
MONTAGE SEQUENCE -
EXT. GARDEN - DAY
In the background 'He's Got the Whole World In His Hands'
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Mrs Hammell watches as Madeleine, without her calipers on
tentatively practices some dance steps holding on tightly to the back of a wooden bench seat for support.
INT. DANCE CLASS - DAY
In the background 'He's Got the Whole World In His Hands'
Olga waits for Madeleine who is having a private dance lesson. She is laboriously doing leg exercises at the
ballet bar with encouragement from her ballet teacher.
Child Marie, waiting for her turn for a lesson, dressed in
short skirt and wearing tap shoes, does a simple little tap dance routine.
INT. BEDROOM - NIGHT
In the background 'He's Got the Whole World In His Hands'
Olga puts hot towels on Madeleine's legs (aged 10). To make Madeleine feel happy Olga does the same to Child Marie (aged 10). Through a slightly opened door, Mrs Hammell
watches with pleasure the progress her daughter is making.
EXT. GARDEN - DAY
In the background 'He's Got the Whole World In His Hands'
Olga watches as Child Marie teaches Madeleine some simple dance routines. They do them repeatedly. Gradually
Madeleine is improving and walking better.
INT. DANCE CLASS - DAY
In the background 'He's Got the Whole World In His Hands'
Olga massages Madeleine's legs before her dance lesson.
Madeleine does not need calipers now and slowly walks over to the bar where she practices tap steps in front of a big mirror holding on to the bar.
INT. BEDROOM - DAY
In the background 'He's Got the Whole World In His Hands'
Olga watches Madeleine rubbing her own legs and doing exercises and practicing some dance steps. She claps her
hands with glee at Madeleine's progress. They hold hands and dance together.
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EXT. STREET - DAY
In the background 'He's Got the Whole World In His Hands'
Olga watches with pride through the window of a shop as Madeleine and Child Marie (both aged 12) practice dance
steps on the pavement together.
EXT. PARK - DAY
In the background 'He's Got the Whole World In His Hands'
Olga, Madeleine and Child Marie are having a picnic. One end of a skipping rope is tied to a tree and Olga holds the
other end while Child Marie and Madeleine (slowly) jump the rope.
Gloria Hammell drives past and sees the trio enjoying
themselves. She does not smile at the scenario. She is jealous of Olga's closeness to Madeleine.
EXT. GARDEN - DAY
In the background 'He's Got the Whole World In His Hands'
Madeline practices tap dancing alone and has improved a
lot.
INT. BEDROOM - NIGHT
In the background 'He's Got the Whole World In His Hands'
Olga quietly opens the bedroom door and peers through to see Madeleine is skipping on her own. She smiles.
INT. DANCE CLASS - DAY
In the background 'He's Got the Whole World In His Hands'
Mrs Hammell is attending the dance class and sits proudly
watching her beloved daughter doing a solo tap dancing routine on her own.
INT. - OLGA & CHILD MARIE'S BEDROOM
Gloria Hammell enters and looks around Olga's immaculately
tidy bedroom.
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She looks at herself in the mirror with undisguised
admiration. She looks indifferently at the TREATS FOR MARIE glass jar on the dressing table.
She looks at the photograph of Child Marie and smiles. Next to the photograph is a hand painted pretty card decorated
with flowers. She picks it up and reads -
INSERT - WRITTEN INSIDE THE CARD
To dear Olga. Thank you for helping me to walk. I love you always and forever. Madeleine. xxx
Gloria Hammell consumed with jealously, slowly crumples the card in her hand. She walks over to the window and looks
out into the garden at the scene below.
EXT. GARDEN - CONTINUOUS
As the singing to 'He's Got the Whole World In His Hands' reaches its finale, Madeleine (14) skips while tap dancing,
watched over by an older Olga, her black hair now short, with gentle curls and tinged with grey and TEENAGE MARIE (14). Olga's clothes, although clean, are worn and have
seen better days.
When the song and dance routine finishes, Madeleine throws herself into Olga's arms hugging her tightly.
MADELEINE
Thank you, Olga. I love you.
Enraged, Gloria Hammell watches the scene from Olga's
bedroom window. She moves away from the window and walks as a woman on a mission out of the bedroom.
INT. OLGA'S BEDROOM - NIGHT
Olga turns a page as she reads her Bible. There is a knock on the door.
Olga opens the door. Mrs Hammell enters the room. She sits down on a chair absentmindedly brushing imaginary particles
off her skirt.
MRS HAMMELL You know that both Madeleine and I
are very fond of Marie, don't you Olga?
She pauses. Olga says nothing.
Mrs Hammell walks over to the dressing table.
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MRS HAMMELL (CONT'D)
I know you're finding it difficult to afford to give Marie nice things.
Olga fiddles with the crucifix around her neck.
MRS HAMMELL (CONT'D)
I mean just look at the way you're dressed right now.
Mrs Hamell tries to find the right words. Olga doesn't take her eyes off of Mrs Hammell.
MRS HAMMELL (CONT'D)
Shabby, is the word to describe how you dress. Do you realise
you're an embarrassment to Marie? Surely you can see that Olga?
Olga becomes angry.
Oblivious, with her lace handkerchief in her hand, Mrs Hammell sniffs delicately, dabs her nose and continues.
MRS HAMMELL (CONT'D)
I'm not a stupid woman, in fact I'd say I was an understanding
woman and I realise you've neglected yourself so Marie does
not go without. Which is why I've come up with a plan that I think will suit all of us.
She pauses for effect.
MRS HAMMELL (CONT'D)
What if I give you a cheque for two hundred pounds and I take
Marie off your hands and raise her as my own?
Olga looks at Mrs Hammell in disbelief.
Mrs Hammell leans closer to Olga, her tone kindly.
MRS HAMMELL (CONT'D) Think about it Olga. Marie
deserves so much more than you can give her. And two hundred pounds
is more than you earn in one whole year. You'd be free to return to
your family in Jamaica. (pause)
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That is where you come from, isn't
it?
OLGA
Just so I understand you Mrs Hammell. You want me to sell my
daughter to you! Is that what you're asking me to do?
Mrs Hammell shifts uncomfortably in her chair.
MRS HAMMELL I can raise Marie to be a lady, to
move in the right circles. I can give Marie everything she needs.
OLGA
Except her mother's love. Do you think I love my daughter less than
you love Madeleine?
For a few seconds there is silence.
OLGA (CONT'D)
Would you sell Madeleine?
MRS HAMMELL Of course not, but the difference
between us is that I have money and can afford to give my daughter
the very best of everything.
OLGA
That's just one of many differences between us Mrs
Hammell.
Olga walks over to the open door.
OLGA (CONT'D) My answer is NO. Please leave.
MRS HAMMELL What!
OLGA
Leave!
As Mrs Hammell reaches the door she turns to Olga, her voice is cold and threatening.
MRS HAMMELL
One way or another Olga, you will lose Marie. I will see to that.
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OLGA
I'm not afraid of you, Mrs Hammell.
Mrs Hammell leaves the room.
Olga quietly closes the door behind her and crumbles against the back of the door shaking and holding the
crucifix around her neck.
She rushes over to the wardrobe and takes down her suitcase. Hastily she throws Teenage Marie's and her clothes in the wardrobe into her suitcase.
As she passes the window, Olga sees Teenage Marie and
Madeleine lying side by side on their tummies in the garden, a book opened in front of them and reading it
together. Teenage Marie's arm nonchalantly draped across Madeleine's shoulders.
Olga looks at the photograph of Teenage Marie. She sighs
and unpacks the suitcase.
INT. HALLWAY - DAY
Mrs Hammell is in the hallway. She stops by the sitting room door and peers in.
Olga is quietly singing as she cleans the room.
Mrs Hammell continues upstairs.
Madeleine sees her mother going up the stairs and follows her.
Madeleine sees her mother enter Olga's bedroom.
INT. LANDING - OUTSIDE OLGA'S BEDROOM - CONTINUOUS
Madeleine walks up to Olga's bedroom and peers through a slightly opened door to see her mother standing beside the armchair.
Madeleine watches as her mother takes off her charm
bracelet and pushes it down the back of the armchair. Mrs Hammell straightens the cushions, looks around the room and
leaves.
Madeleine is nowhere to be seen.
79
INT. OLGA'S BEDROOM - NIGHT
Olga and TEENAGE MARIE are asleep in bed. A loud knock on the door wakes her. Olga hastily gets out of bed and puts
on her dressing gown. Another loud knock.
Olga opens the door and sees Gloria Hammell and TWO MEN in suits.
MRS HAMMELL
These men are POLICEMEN and I would like them to search your room.
OLGA
What!
Marie gets out of bed and runs to her mother's side.
CONSTABLE SMITH, 40 and CONSTABLE JONES, 25, enter the bedroom.
CONSTABLE SMITH Mrs Hammell has reported some
jewelery missing. We'd like to search your room. It won't take
long.
OLGA I've never stolen anything in my
life!
Mrs Hammell turns to Constable Smith.
MRS HAMMELL
It's not just the jewelery. I've noticed other little knick knacks
have disappeared too.
Mrs Hammell eyes the music box.
MRS HAMMELL I've suspected for some time it was Olga.
Olga picks up the music box.
OLGA
Madeline gave that to Marie.
MRS HAMMELL I'm aware of that.
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Marie starts to cry. Olga puts her arms around Marie
holding her tight.
OLGA
It's a mistake, Marie.
As Constable Jones throws Olga's clothes onto the bed, he knocks over and breaks Olga's statue of the Virgin Mary.
Olga GASPS and clearly distressed, bends down and picks up the pieces, trying in vain to put them together.
Marie kneels down beside Olga and helps her pick up the pieces.
Constable Smith pulls off the bed clothes and turns the
mattress over. Finding nothing he empties the contents of Olga's handbag onto the bed.
Constable Jones removes the cushions from the armchair and
puts his hand down the back of it feeling for something.
Mrs Hammell smiles smugly.
CONSTABLE JONES
Nothing here.
Mrs Hammell's face registers shock.
MRS HAMMELL Look again!
He searches the settee again.
CONSTABLE JONES There's nothing there!
CONSTABLE SMITH
We'll take her to the police station. See if she got any
previous. Wouldn't surprise me. Her kind are like magpies, love
bright shiny things.
Mrs Hammell can barely conceal a smile.
MRS HAMMELL
Leave Marie with me.
OLGA NO! I'm her mother, she comes with
me.
CONSTABLE JONES She's right -
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Mrs Hammell reaches out and grabs Marie by the arm.
MRS HAMMELL You can't take the child to a
police station. I can look after her.
Olga pushes Mrs Hammell so hard she stumbles and lets go of
Marie. Olga holds Marie close to her.
CONSTABLE JONES C'mon. Let's get this over with.
INT. POLICE STATION - CUSTODY - NIGHT
Olga and Marie hold hands and stand at the custody desk in
the Police Station.
CUSTODY SARGENT What have we got 'ere?
CONSTABLE JONES The woman's been brought in for
questioning.
Indicating Olga.
CONSTABLE SMITH Her employer says she's stolen
some jewellery. Wouldn't surprise me.
CUSTODY SARGENT Have you notified social services
to come and pick up the kid?
Olga's grip on Marie's hand tightens and panic rises.
OLGA No, please don't take her away.
This is a mistake. I'm a Catholic, I'd never steal.
The policemen laugh.
CONSTABLE SMITH As if that makes a difference.
OLGA
(defiantly) It makes a difference to me.
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The Custody Sargent looks down at the sheet in front of
him.
CUSTODY SARGENT
Take her into the processing room for fingerprinting.
The Constable Jones steers Olga towards a room.
CONSTABLE JONES
You can leave your daughter here. She'll be fine.
Olga hesitates before letting go of Marie's hand. Marie reaches out and grabs her mother's arm.
OLGA
It's alright Marie. I'll only be a few minutes. I'll be back and
they'll realise it's all a big mistake.
Marie lets go of her mother's arm, watching her disappear into a nearby room.
INT. POLICE STATION - ANTE ROOM - EVENING
A POLICEMAN takes Olga's fingerprints as a POLICEWOMAN watches. Olga looks down at her inky hands in horror. The
policewoman hands Olga a cloth to wipe her hands on.
OLGA
Can I go to my daughter now please?
POLICEWOMAN
Not just yet Olga. We have to check to see if you have a
criminal record.
Olga sways as if about to pass out.
OLGA
I don't have a criminal record.
POLICEMAN Take her downstairs.
POLICEWOMAN
Come with me Olga.
They leave the room but not by the same door they came in.
83
The door opens onto
STAIRS -
that lead to the floor below. Olga becomes more and more frightened with each step as they descend.
OLGA
Where are you taking me? Where's my daughter?
POLICEWOMAN Marie will be looked after by
Social Services.
At the bottom of the stairs are the prison cells.
INT. POLICE STATION: CUSTODY - CONTINUOUS
OLGA
Oh God. No!
The policeman indicates to Olga to enter the cell.
OLGA
What have you done with Marie?
POLICEWOMAN Marie's safe, Olga. Social
Services have taken her away.
With her hand in the small of her back the policewoman
gently pushes Olga into the cell and locks the door.
INT. OLGA'S CELL - CONTINUOUS
Olga pounds on the door of her cell.
OLGA
Marie! Marie! Don't take my baby. Please!
Gradually Olga stops. Olga stands motionless inside the cell.
There is only a single metal framed bed with a thin
mattress and grey blanket on it.
Olga starts slowly pacing the cell back and forth. At the same time her lips moving but no sound comes out. Her pace
quickens and her words become inaudible.
84
She becomes increasingly agitated and grabs the blanket of
the bed hurling it across the cell. She continues to pace up and down. Enraged Olga throws the thin mattress across the cell and lets out a primal scream.
Olga faces a wall, her fists banging repeatedly,
relentlessly and ferociously on the wall.
Leaning with her back against the wall, Olga rips the crucifix and chain from around her neck and throws it
across the cell.
Slowly she slides down the wall squatting on her haunches
and, covering her head with her hands, buries her head in her lap sobbing.
INT. SITTING ROOM - EVENING
Madeleine comes into the room. She is sad and bewildered.
MRS HAMMELL Madeleine, darling, it's late. You should be in bed.
MADELEINE
Why, Mummy, why did you do it?
Mrs Hammell looks at her daughter not understanding the question.
MRS HAMMELL Do what darling?
Madeleine takes her mother's silver bracelet from her
pocket.
MADELEINE I saw what you did.
Her mother looks uncomfortable. Madeleine hands the
bracelet to her.
MADELEINE (CONT’D)
I love Olga. Why did you want to get her into trouble?
MRS HAMMELL
I did it for you, so Marie could come and live with us.
MADELEINE
Marie already lives with us. What's going to happen to Olga?
85
Mrs Hammell doesn't answer. Madeleine becomes angry.
MADELEINE (CONT’D) I hate you for what you've done to
Olga and I'll never forgive you.
As Madeleine is about to leave the room, she fires one more salvo.
MADELEINE (CONT’D)
I wish Olga was my mother.
Mrs Hammell sits motionless in shock.
THE NEXT DAY -
Olga lies broken on the mattress on the ground. The policewoman unlocks the cell.
POLICEWOMAN
Olga, you're free to go. Mrs Hammell has withdrawn the charge. She found the bracelet.
Olga doesn't move. It's as if she hasn't heard the
policewoman.
POLICEWOMAN Olga, did you hear me? You're free
to go.
Olga gets up in a daze. The policewoman helps her.
OLGA
Where's my daughter?
POLICEWOMAN She'll be here soon.
INT. POLICE STATION - RECEPTION - DAY
Teenage Marie and Olga hug each other tightly. A policeman
holds the door open for them to leave.
POLICEWOMAN Olga!
Olga turns to see the Policewoman hold her hand out with
Olga's crucifix and chain.
Olga turns her back on it. Marie goes up to the policewoman and takes crucifix. Then, she puts it in her own pocket
86
and takes her mother's hand as they leave the police
station.
INT. OLGA & TEENAGE MARIE'S BEDROOM - DAY
Olga packs hers and Marie's clothes. Mrs Hammell stands in the doorway watching. Madeleine sits on the bed downcast
with Marie beside her. Both teenagers are crying and holding hands.
MADELEINE Please stay Olga. Mummy says it
was a silly misunderstanding.
With tears rolling down her face, Madeleine pleads with her mother.
MADELEINE (CONT'D)
Please Mummy, ask Olga to stay.
Gloria Hammell looks at Olga with cold fury.
OLGA
I'm sorry Madeleine.
Madeleine runs out of the room ignoring her mother's outstretched arms. Gloria Hammell goes after her daughter.
Marie is sobbing softly.
Olga takes the photograph of her family and puts it in her suitcase. She leaves the Bible with the straw bookmark, broken statute of the Virgin Mary and her rosary beads on
the bedside table.
OLGA Come on Marie. Let's go.
Olga closes the suitcase.
TEENAGE MARIE
What about those?
Marie points to the holy items.
OLGA
I don't need them anymore.
INT. MASSEY'S DOMESTIC EMPLOYMENT AGENCY - DAY
Olga, 40, her black hair now with more grey, stands in the reception area in Massey’s.
87
Behind a large dark brown ornate desk sits is the Receptionist,
a middle aged woman with glasses that sit on the end of her nose. Her grey hair is plaited into two pigtails, each one rolled up and pinned either side of her head. She has an air of
no nonsense about her.
Down one side of the room are four interview cubicles each with a curtain that can be drawn across to give privacy when an
interview is taking place. Two cubicles have their curtain drawn across and the other two are empty. There is a small
table and two chairs.
Opposite the cubicles are a row of chairs on which sit three
well dressed women, potential employers.
Olga joins a queue of men and women all looking for domestic employment of some kind.
Olga timidly approaches the Receptionist.
OLGA
Hello
RECEPTIONIST
Yes.
OLGA My names is Olga and I’m looking for a
job as a cook.
Receptionist is taking notes as Olga speaks. Without looking up she holds out her hand.
RECEPTIONIST References?
OLGA
What?
Receptionist looks up.
RECEPTIONIST Your references from your previous employer.
OLGA
I don't have any.
Receptionist scoffs.
RECEPTIONIST No one will employ you without a
reference.
88
She looks past Olga.
RECEPTIONIST Next!
EXT. STREET - DAY
It's been raining and the streets are wet.
Olga walks to the Labour Exchange. As she approaches the Labour Exchange in the middle of the pavement are three men and a woman talking.
They see Olga approaching but ignore her so that she has to
step off the pavement onto the road. As she passes them a car drives into a large puddle splashing Olga as it passes
her. She continues, head high, to the sound of them laughing uproariously at the incident.
Olga stands outside the Labour Exchange. Close by is a
newspaper stand.
INSERT - DAILY SKETCH HEADLINE
"HUNDREDS MORE SETTLERS FROM JAMAICA ARRIVE AT TILBURY".
Olga pats her hair in place, brushes imaginary flecks of
her coat and walks in.
INT. - LABOUR EXCHANGE - MOMENTS LATER
A few men sit waiting, but no women. The men stare at Olga. She feels conspicuous but walks up to the counter. A stern
middle aged CLERK stands behind the counter.
OLGA Hello. I'm looking for a job as a
cook.
He looks at Olga with indifference.
CLERK
Nothing 'ear for you.
Dejected, Olga leaves.
89
EXT. NEWSAGENTS - LATER
Olga stands outside the newsagents looking to see if there are any jobs advertised in the shop window. There are none
for jobs but plenty of advertisments for rooms to let all saying the same thing.
INSERT - ADVERTISEMENT
"ROOM TO LET : NO COLOUREDS, NO IRISH, NO KIDS."
She sighs as she reads the notices.
As Olga enters the shop Marie walks in carrying a large canvas bag with the words EVENING STANDARD printed across
it.
Olga beams at Marie.
OLGA Marie, I forgot you were doing a
paper round today.
Marie rolls her eyes.
The shop owner stands behind the counter with a big pile of
newspapers on the counter in front of him.
SHOP OWNER This little lady never forgets.
She's always on time.
TEENAGE MARIE
That's because I like earning money so I can buy nice things.
Marie starts to load her bag with the newspapers.
OLGA
I'll see you at home later then.
TEENAGE MARIE (breezily)
OK.
INT. HEAD MISTRESSES OFFICE - MARIE'S SCHOOL - DAY
Olga has gone to plead with the Head Mistress, MISS ALEXANDER, 60, for more time to pay her arrears on Marie's
school fees. Miss Alexander sits behind her desk. Olga sits opposite her tense and bolt upright.
90
MISS ALEXANDER
I do sympathise. Trying to give your daughter the best education comes at a price but we are not a
charity.
OLGA Please, don't remove Marie from
school. Not when we've come so far. I can pay the arrears. I
just need a bit of time. I lost my job because the owner didn't like me. (Beat) I don't know why
because I'm a good cook.
Miss Alexander has a pensive look on her face.
Olga sits, anxiety written all over hers.
MISS ALEXANDER Hmm. I might have a solution.
INT. OLGA AND TEENAGE MARIE'S ROOM
Olga enters the room and takes off her coat carefully
hanging it on a hanger and then on the back of the door.
Olga opens the draw of her bedside table and takes out a writing exercise book. She goes over to the table and
wearily sits down. Olga opens the exercise book and removes the photograph of her family. She looks at it with tenderness for a long time gently touching the faces of
each member of her family.
INT. OLGA AND TEENAGE MARIE'S HOME - SHARED KITCHEN -
EVENING
Olga and Marie live in a boarding house where they share a kitchen with other tenants. The kitchen is tiny, run down
with paint peeling off the walls and shabby floor covering. On the kitchen wall is a notice.
INSERT - NOTICE
Reads - BE CONSIDERATE TO OTHER TENANTS AND CLEAR UP AFTER YOURSELF. MRS HALL, LANDLADY.
A tray is on the table with a plate of bread and butter.
Olga is pouring hot soup from a saucepan into two bowls on the tray.
91
PADDY MAGUIRE, Irish, 40s, slight build, an air of
fastidiousness about him, a kindly man, with a soft voice but unmistakable Irish accent, sits at the table drinking tea.
MRS HALL, the landlady, disheveled, 50,short straight
straggly grey hair, wearing a well-worn navy cardigan and a grubby apron is on her hands and knees struggling to open
the gas meter so she can empty it.
On the kitchen table is a newspaper.
INSERT - HEADLINE
COLOURED MAN BEATEN AND LEFT FOR
DEAD IN STREET.
Olga looks distressed by the headlines.
PADDY They're thugs, Olga. People see
coloureds and blacks as a threat. They think they'll take their jobs, their housing and their
women!
OLGA It wasn't like this during the
war. Colour didn't seem to matter then.
Mrs Hall has finally got the meter open and scoops up the shillings pieces into a bag. She struggles to her feet.
MRS HALL
I'm with those who say 'Keep Britain White'. No offense Olga.
You're OK 'cos you know your place.
Mrs Hall leaves the kitchen.
PADDY Jeez! That woman has all the
sensitivity of a rogue elephant.
Olga picks up the tray with the two bowls of soup and bread.
OLGA
At least she's given us a roof over our headS.
Paddy looks around the kitchen with disdain.
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PADDY
Some roof!
INT. OLGA & TEENAGE MARIE'S HOME - EVENING
Olga and Marie are in their one room bedsit. It is medium sized, with two single metal beds. The furniture is dark,
ugly and cumbersome. Under the mantelpiece is a gas fire with a gas meter next to it.
The floor visibly dips in the middle of the room and is covered by a well-worn, shabby green carpet.
Marie and Olga sit at a table, Marie with her coat on and
both drinking their soup.
TEENAGE MARIE Why are we still living in this
place? I hate it. It's horrid and cold.
OLGA I'll soon find something else.
TEENAGE MARIE
How many years have you been saying that?
Marie sees a faded photograph peeking out from a magazine.
She reaches for it.
TEENAGE MARIE
I haven't seen this before. Who are these people?
INSERT - PHOTOGRAPH
of Olga's family.
Olga is caught off guard.
OLGA My family. It was taken one
Christmas.
Marie looks at Olga incredulously.
TEENAGE MARIE What! I didn't know we had all
this family. Why didn't you tell me?
Olga fears Marie will ask too many questions so lies.
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OLGA
I did, years ago. You must have forgotten.
Marie peers intently at the photograph.
TEENAGE MARIE Apart from her -
(Marie points to Mammie) They're all black!
OLGA Coloured, not black, apart from
Pops.
TEENAGE MARIE What's the difference!
EXT. SCHOOL ENTRANCE - MORNING
Pupils arrive at the school. Marie with her friends Susan, Priscilla and Rosalind walk through the school gate together laughing and chatting animatedly.
From a kitchen window Olga watches Marie and her friends,
As the girls approach the window, Olga steps back into the kitchen so she cannot be seen.
The Headmistress, Miss Bernadette enters the kitchen.
HEADMISTRESS How are you settling in Olga?
Have you familiarized yourself with where everything is?
Olga nods.
OLGA
Yes. Thank you Headmistress.
A bell rings loudly startling Olga.
HEADMISTRESS
(smiling) That's the bell for Assembly. Time
to go to work.
INT. SCHOOL KITCHEN - MID MORNING
Olga puts the kitchen cooking utensils away.
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Olga looks up and sees SARAH, 10, friendly, pretty, long
straight blonde hair, and her sister CARLY, 8, cute, bubbly, curly blond hair.
OLGA Hello! Are you lost?
Carly runs up to Olga looking up at her earnestly.
CARLY
No, we're hungry!
Carly enchants Olga immediately.
OLGA
Would you like something to eat?
Carly nods her head vigorously. Sarah comes over to Olga.
SARAH Our parents phoned us early this
morning from India. They're diplomats you see and we talked to them for so long we had to rush to
school because we would have been late.
OLGA
Who looks after you if you're parents are overseas?
SARAH Our mother's sister, Aunt Jane.
She said we didn't have time for breakfast.
CARLY
And we're very hungry now.
Olga smiles at the girls. She disappears into the pantry and emerges with a plate of homemade biscuits. She pours
some milk from the fridge into two glasses. Puts the biscuits and milk on a tray and hands it to Sarah.
OLGA Here, take this.
Sarah takes the tray but not before Carly helps herself to
a biscuit and bits into it.
CARLY Ooh! That's nice.
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OLGA
I call them my bulla biscuits.
SARAH
Thank you Cook.
As the girls leave Carly turns round and waves at Olga.
INT. SCHOOL - MID MORNING BREAK - DINING ROOM
Pupils from the senior class sit chatting at a table.
Teenage Marie sits next to her best friend, SUSAN, long blonde fair hair, pretty.
ROSALIND, plain looking, but kindly, sits opposite Marie.
ROSALIND
What are you going to do after we graduate Marie?
Marie shrugs her shoulders.
SHANNON, butch, without a vestige of femininity.
SHANNON I'm going to train to be a
physical education teacher.
TEENAGE MARIE (burst out laughing)
I can't imagine you doing anything
else.
Shannon immediately takes offense.
SHANNON What's that supposed to mean?
Shannon and Marie needle each other.
PRISCILLA, slightly odd looking with a crooked nose and a lazy eye looks at Marie.
PRISCILLA
With your looks you could be a model, Marie.
ROSALIND
I wish I had your teeth. They're so white.
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SHANNON
That's cos she has creamy coloured skin. Contrast, you see. You could have a touch of the tar
brush in you, Marie.
Marie shifts uncomfortably in her chair with the attention.
SHANNON (CONT'D) By the way, anyone noticed the new
cook? She's a darkie. (laughing)
Not one of your family, is she
Marie?
Susan senses Marie is going to react.
SUSAN (quietly)
Don't take any notice, Marie. She's just trying to provoke you.
PRISCILLA Oh, who cares if she's a darkie.
She's the best cook we've ever had and we've had a few.
Nearby sit Sarah and Carly. On the table are two half-
drunk glasses of milk and two biscuits left on a plate. They have overheard the conversation.
SARAH Don't call Cook that name! It's
not nice.
CARLY (indignantly and
precociously) She's very kind. And what's more
she makes the best biscuits.
Carly takes a biscuit from the plate and holds it up for the senior girls to see.
CARLY (CONT'D) See - funny name though - bully
biscuits.
SARAH (laughing)
Bulla, Carly, not bully.
Marie freezes, her face registering fear.
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EXT. SCHOOL KITCHEN - LATER - DAY
Olga wipes down the kitchen stove.
Olga turns round and sees Marie who looks at her mother in disbelief. A rage builds up in Marie.
TEENAGE MARIE
Why?
OLGA Marie, I have to work to support us.
Marie's voice is rising in anger.
TEENAGE MARIE
You could have taken another job?
OLGA I tried to find something, but
there was nothing.
TEENAGE MARIE
So you took a job guaranteed to humiliate me in front of my
friends.
OLGA Calm down! There's no need for
anyone to know I'm your mother.
TEENAGE MARIE
I know.
Marie's voice hardens as she stares coldly at her mother.
She turns to leave but not before checking through the porthole window that the dining room is empty.
INT. BEDSIT - OLGA & TEENAGE MARIE'S HOME - EVENING
Olga sews a button on Marie's school blazer.
Marie sits at the table doing her homework.
OLGA
How long are you going to keep this up, Marie? You have to speak
to me.
She ignores her mother.
98
OLGA
Jobs are not easy for me to get. You know that. Miss Alexander said in exchange for my working at
the school she would reduce your fees.
Marie looks up at her mother coldly.
TEENAGE MARIE
I didn't ask to go to this school.
OLGA
(wistfully) Mammie used to say a good
education will open any door no matter how thick the door is.
EXT. HIGH STREET - DAY
It is very cold and snow is on the ground. The streets are slushy and pavements still covered in snow. Olga wears a thin coat and unsuitable shoes as she trudges through the
snow, her body hunched against the cold wind.
She sees Marie and her friend Susan walking towards her. Marie, dressed in high boots and a warm fashionable coat,
sees her mother and pulls Susan sharply into the road to cross over to the other side.
TEENAGE MARIE Hey, this new dress shop I was
telling you about is over here.
A car blows its horn as it swerves to avoid them. As they reach the other side Marie turns and sees her mother
standing on the pavement looking at them. Olga turns away and continues walking.
SUSAN
Marie, you nearly got us killed to look at this!
Marie turns to look. They stand in front of a men's barber shop.
INT. DINING ROOM - LUNCH TIME
The dining room is almost empty except for a handful of pupils collecting the dirty dinner plates off their tables
and taking them into the kitchen to be washed up.
99
They invariably compliment Olga on her cooking.
Olga is surreptitiously peering through the kitchen window into the dining room. She watches Marie who sits with
Susan, Rosalind and Shannon at their table. Their dirty dinner plates still on their table.
ROSALIND
C'mon, who's on the roster to clear the table this week?
Marie glances towards the kitchen.
TEENAGE MARIE Isn't that what domestic servants
are for?
SHANNON (aggressively)
It's Marie's turn but Marie is too hoity toity to dirty her hands
with such menial work.
Sarah and Carly are clearing their table and overhear the
conversation.
SARAH We'll do it. We'll clear your
table, wont we Carly.
Carly nods enthusiastically.
Marie looks relieved.
TEENAGE MARIE
(slightly threatening) One of these days Shannon -
SHANNON
(goading Marie) Yeah - one of these days, what?
MOMENTS LATER
INT. KITCHEN
Olga hears a commotion coming from the dining room. As she is about to investigate Sarah and Carly enter the kitchen.
Sarah carries dirty dinner plates. Carly carries some dirty
cutlery.
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OLGA
What's the commotion about in the dining room?
SARAH Two of the senior girls, Marie and
Shannon are fighting, again!
Olga goes over to the door and looks through the porthole in the window. She see Shannon sitting on Marie pummeling
her.
Olga fights an overwhelming urge to go in and rescue her
daughter.
The girls place the dirty dishes by the sink.
OLGA Why are they fighting?
Sarah shrugs her shoulders.
Olga watches as Susan and Rosalind separate Marie and Shannon.
SARAH
What else can we do to help you Cook?
Olga smiles touched by their kindness.
OLGA I can manage now girls, but before
you go -
Olga goes over to a biscuit tin, opens it and takes out two of her bulla biscuits.
The girls’ faces light up as they take one each.
CARLY
We'll be back tomorrow to help you.
INT. OLGA & MARIE'S HOME - KITCHEN - EVENING
Paddy wears an apron. He is wiping down surfaces in the
kitchen.
Marie sits at the table still in her school uniform. She has a graze on her cheek.
101
PADDY
What happened to you?
Paddy takes out a pristine clean handkerchief from his
pocket and wets it. He hands it to Marie.
PADDY (CONT'D) Here, use this to clean the graze.
TEENAGE MARIE
I got in a fight at school. A girl got personal and I got angry.
Paddy looks at the silver crucifix around Marie's neck that once belonged to Olga.
PADDY
You certainly don't believe in turning the other cheek, do you?
Marie makes a face at Paddy.
Paddy takes a casserole out of the oven and puts it on the table. He dishes up three plates, covers one and puts it
to one side.
Marie looks around at the surroundings.
TEENAGE MARIE I'll be leaving school soon and I
can get away from her. You'll see, I'll get my own place and a good job, and it won't be working in a
bloody kitchen.
PADDY You look down on your Mam because
she works in a kitchen? Jeez Marie, how did you get to be such
a snob?
Marie looks sheepish. For a few moments they eat in silence.
TEENAGE MARIE Do you have a big family Paddy?
PADDY
Just me.
Marie looks earnestly at Paddy.
TEENAGE MARIE We're a family aren't we Paddy?
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PADDY
Sure we are. We're the best family there is. The "No coloureds, No Irish and No kids"
family.
Paddy and Marie laugh.
INT. OLGA AND TEENAGE MARIE'S ROOM - EVENING
Marie is alone in their room. Clothes dry on a clothes horse.
The radio plays pop music. Marie dances to the music. Marie
is separating the clothes into unfolded two piles, hers and her mother's.
As Marie opens her mother's drawer to put her pile of
clothes in the drawer, she notices a slight bulge under the lining paper of the drawer. She lifts the paper and finds
a folded document. Marie unfolds the document and sees it is her birth certificate.
INSERT - BIRTH CERTIFICATE
Marie reads her birth certificate. She sees it states Olga's name and Marie's date of birth. It lists Olga as
single and in the column where the father's name should be written, there is just a dash symbol. No name is written.
Marie stops dancing. She slumps down on the bed and looks disbelievingly at her birth certificate. Anger rises in
her and she picks up her mother's pile of clothes and throws them across the room.
INT. OLGA & TEENAGE MARIE'S ROOM - DAY
Teenage Marie watches her mother as she carefully brushes a thin grey coat that hangs from a hanger on the back of the
door. It is a coat that has seen better days.
TEENAGE MARIE
Why bother? Nothing you do can improve the look of it.
Olga hides the hurt she feels at the comment.
OLGA
(softly) You know it’s the only one I have.
103
TEENAGE MARIE
You’re not really coming to watch, are you?
Olga pauses before she answers.
OLGA It's your graduation ceremony Marie.
It's going to be the proudest day of my life and I'm not missing it for
anything.
Marie feels guilty but responds by attacking angrily.
TEENAGE MARIE
I don't think I've ever seen you wear a wedding ring Mum. Why is
that?
Olga turns her back to Marie.
OLGA I lost it a long time ago.
Marie is angry with her mother and picks another battle.
TEENAGE MARIE Why have we had to live in this
dump all these years?
OLGA I tried to find something better, but there were obstacles. I
thought your education was more important.
TEENAGE MARIE
(wistfully) We use to live in a beautiful
house.
OLGA My father used to tell us it’s not where you live that’s important,
it’s how you live.
TEENAGE MARIE Yeah, lucky you. At least you knew
your father.
OLGA Why are you so angry?
Marie reaches into her bag and takes out a paper.
104
OLGA (CONT'D)
What is it?
TEENAGE MARIE
My birth certificate.
Olga's body tenses.
OLGA Where did you get it?
Marie holds out the certificate to Olga.
TEENAGE MARIE Oh I've had this for some time
Mum. I take after you. I can keep secrets too. Tell me what’s
written where it say Father’s name. Look at it! Tell me what it
says!
Olga turns her head away so she doesn’t have to look.
TEENAGE MARIE (CONT'D)
Nothing! It's blank where my father's name should be.
Why? Why is there no name?
Silence.
TEENAGE MARIE (CONT'D) How could you?
Olga looks up and her gaze lingers on the silver crucifix around Marie's neck that was once hers. Olga's silence
stirs Marie's anger and her voice rises again.
TEENAGE MARIE (CONT'D) I get it. I’m illegitimate.
You're so full of secrets and lies. I bet your family aren't
dead. You didn't want to contact them because of me. You're ashamed of having me!
Marie turns to leave.
OLGA
(pleading) Please, Marie, don't go. I'll try
and explain.
MARIE (CONT'D) (angrily)
105
Don't bother. I wouldn't believe
you anyway and I don't want you at my graduation ceremony.
Marie leaves slamming the door.
INT./EXT. OLGA & MARIE'S ROOM - CONTINUOUS
Olga stands at the window watching Marie run down the road
until she is out of sight.
Unable to control her emotions she slumps down on the bed
and breaks down sobbing.
EXT. STREET OUTSIDE OLGA & TEENAGE MARIE'S HOME - NIGHT
It is late at night and the streets are empty.
Olga is sitting at the bus stop waiting for Marie. Each
time a bus stops she stands up peering in, hoping Teenage Marie is on it. Buses come and go but no Marie. Olga paces back and forth through the dark empty streets.
Olga sees a phone box down the road and walks towards it.
She enters the telephone box and is confronted by an array of postcards advertising sexual services.
She looks at the emergency number for the police and picks
up the phone but hesitates.
A middle aged couple arm in arm walk past the booth giving
Olga a disapproving look. Olga hurriedly leaves the phone box and walks back to the bus stop.
She sits and waits, crying quietly.
The buses have now stopped running and she is alone on the
street.
LATER -
Olga still sits in the bus shelter when a taxi pulls up outside their home. Marie gets out. She is drunk.
Olga watches Marie as she stumbles up the steps and sways
trying to get her key in the front door. Eventually she does and enters the house. Olga waits for a while before
she follows Marie.
106
INT. SCHOOL KITCHEN - MORNING
Olga sits at the kitchen table drinking a cup of coffee. In front of her are a plate of bulla biscuits.
Sarah and Carly enter the kitchen.
SARAH
Morning Olga.
CARLY Hello, Olga. We thought -
Carly sees the biscuits, her favourite.
Olga smiles at the girls and offers them one.
CARLY Go on Sarah, ask her.
Sarah takes a deep breath.
SARAH Olga, Carly and I are singing in
the choir at the Graduation Service and our parents can't
come.
Carly speaks with her mouth half full.
CARLY They're still stuck in India and can't get here in time.
SARAH
So, we wondered if you would come and watch us.
CARLY
Please come and watch us Olga.
OLGA What about your Aunt Jane. Won't she go?
CARLY
(wrinkling her nose) Not the same.
SARAH
I don't think she likes children much.
107
Sarah adds what she thinks will be an incentive to induce
Olga to come.
SARAH (CONT'D)
We have prayers before the Carols, Olga.
OLGA
I don't pray anymore Sarah.
CARLY Why not Olga?
OLGA God stopped listening to my
prayers a long time ago.
CARLY Oh! He listens to mine. I'll pray
for you. Give him another chance Olga.
Sarah senses Olga is about to refuse.
SARAH Please Olga, it would mean a lot
to us.
Both girls have such a look of earnestness on their faces that Olga doesn't have the heart to refuse. Olga nods,
smiling.
Sarah comes over to Olga and gives her a kiss on the cheek.
Carly stands beside Olga looking up at her waiting to do the same.
Olga bends down to Carly's level and Carly plants a kiss on
Olga's cheek. Both girls leave the kitchen.
Olga gently touches her cheek where they planted their kisses and smiles.
MOMENTS LATER
Shannon enters the kitchen. She looks ill at ease.
OLGA
Hello. Did you want something?
Shannon looks at the plate of biscuits and Olga thinks she's come in for one. Olga offers Shannon a biscuit who
takes one. Shannon still doesn't say anything but bites into the biscuit.
108
SHANNON
(surprised) My God, these are good.
Olga laughs at Shannon's spontaneous reaction. This puts Shannon at ease.
SHANNON
I'm supposed to be in the domestic science class in half an hour.
OLGA What are you going to cook?
SHANNON
I've no idea. Everything I ever cook turns out rubbish. I follow
recipes but they never turn out like they should and the others
girls laugh at me. Everyone says you're the best cook ever and
(pauses)I wondered if you could give me a few tips.
As Shannon stands before Olga she sees a young girl vulnerable and lacking self-confidence, all brashness gone.
OLGA
Is your mother a good cook?
A sombre look crosses Shannon's face.
SHANNON
My Mum's dead. (sigh). She was in an air raid shelter when a bomb
dropped on it.
OLGA Oh, I'm so sorry.
Shannon shrugs and is momentarily quiet then suddenly perks
up.
SHANNON
I live with my Dad and he's a rubbish cook too.
OLGA
Well, to do something well I think you have to really care about what
you're doing. I love cooking. Sometimes my life can be
challenging but cooking has given me a way to connect with people,
109
to make them happy and if I can
make them happy, that makes me happy.
Olga opens a drawer and takes out a pen and notepad and starts writing.
OLGA (CONT'D)
I have a recipe for a chocolate cake. It's simple, easy to make
and doesn't have too many ingredients. If you follow the recipe carefully and put your
heart into making it, it will turn out perfectly.
Olga hands the recipe it to Shannon.
SHANNON
Thank you.
As she is leaving she stops at the door and turns.
SHANNON (CONT'D)
Carly's right, you are very kind.
As Olga closes the kitchen door behind Shannon, she see Marie and Susan in the dining room. She smiles at the
girls. Susan gives Olga a little wave. Marie looks away.
INT. DINING ROOM - MOMENTS LATER
Marie and Susan are alone in the dining room.
SUSAN Have you noticed how Cook is a
sort of earth mother figure? So many of the kids love her.
TEENAGE MARIE
(defensively) Why are you asking me? I don't know.
Marie quickly changes the subject.
TEENAGE MARIE
Is your Mum coming to the graduation ceremony? I'd like to
meet her.
Susan smiles ruefully.
110
SUSAN
So would I.
TEENAGE MARIE
What are you talking about?
Susan is troubled by something.
SUSAN If I tell you something Marie, do
you swear not to tell another person?
TEENAGE MARIE Trust me, Susan, I'm really good
at keeping secrets.
SUSAN (deep breathe)
I'm adopted.
Pause while information sinks in.
TEENAGE MARIE
What! Really! Why? How?
SUSAN My real mother wasn't married when
she got pregnant with me. She fell in love and when she told the
guy she was pregnant, she never saw him again. Her family said the baby had to be adopted or she
would never see or speak to any of them again. She'd bought shame on
them -
(Susan shrugs)
SUSAN (CONT'D) So she gave me away just after I
was born.
Marie remembers back to the time when she, Madeline and
Olga were at a zoo.
TEENAGE MARIE (quietly almost to
herself) Can you imagine a Mummy not
wanting her babies?
TEENAGE MARIE (CONT'D) Do you think you'll ever see her?
111
SUSAN
I desperately want to and my adopted Mum knows that. But she says my real Mum won't have told
anyone about me. She'll have done her best to forget I exist.
They both are both pensive.
SUSAN (CONT'D)
In a kinda way I understand why she did it. It would have taken a lot of courage to keep me. It's
the same now. There's a stigma attached to unmarried mothers.
Society thinks they're morally corrupt. Don't get me wrong. I
don't think that. Maybe I would have done the same in her
situation or had an abortion. I often wonder what my life would
have been like if she'd kept me.
Marie listens intently.
SUSAN (CONT'D)
My Mum, my adopted Mum, says some people were so damaged by their
experiences in the war and been through such traumatic events that
their lives changed forever. They have secrets they can't talk about even with those closest to them.
INT. OLGA AND TEENAGE MARIE'S ROOM - DAY
Olga and Marie are getting ready for the graduation ceremony.
Olga has bought a new dress and has a new hair style for
the occasion and looks very smart.
Marie wears a simple navy and white pencil dress with
kitten heel shoes. She looks beautiful and elegant. Around her neck is her mother's silver crucifix.
OLGA
You look beautiful Marie. So grown up.
Marie ignores her mother.
112
OLGA (CONT'D)
I know you don't want me to come, but I want to see my daughter graduate. It's really important
to me.
Marie remains with her back to her mother.
OLGA (CONT'D) Please speak to me Marie.
Marie continues to ignore her mother.
OLGA (CONT'D) This is such an important day for
both of us Marie, please don't spoil it.
There is a knock on the door.
Marie opens the door and Paddy enters.
PADDY WOW!! Look at you two beautiful
women.
Paddy sees Olga is unhappy and senses the tension in the room.
Marie picks up her coat.
PADDY Aren't we all going together?
TEENAGE MARIE
I'm going alone.
PADDY Why? I thought we were a family,
Remember? The No Coloureds, No Irish, No Kids family?
Marie ignores him.
Olga looks on forlornly as Marie leaves the room.
PADDY What's going on Olga?
OLGA
She doesn't want me there.
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PADDY
Well, that's too bloody bad because we're going.
Smiling broadly Paddy offers his arm and with Olga on his arm they leave.
INT. SCHOOL - GRADUATION DAY
It is the End of School Award Ceremony for Marie's year. Parents and pupils take their seats for the start of the ceremony. The teachers sit in a row on the stage. A
lectern stands in the middle of the stage. The hall is packed with parents, relatives and friends.
To the left of the stage is the choir facing the pupils
graduating. Carly and Sarah are on the front row opposite Marie.
To the right of the stage are a row of chairs for the
pupils who will collect their leaving certificates including Priscilla, Rosalind, Marie, Susan and Shannon who are already seated.
Olga enters the hall with Paddy. Marie sees them. Carly
and Sarah wave frantically trying to get Olga's attention.
PADDY C'mon Olga. There are seats for
us down the front.
As they make their way to the front, pupils acknowledge
Olga in a friendly manner. Almost at the front they are stopped by a surly male usher, MR JENKINS, 40.
MR JENKINS
(brusquely) Sorry, but your seats are at the
back of the hall.
PADDY No, they're not. We have reserved seats in the front.
Shannon sees the commotion between Mr Jenkins and Olga and
immediately goes over to take charge of the situation.
SHANNON No, no, no. Mr Jenkins. Cook's
seat is at the front.
114
Leaving Mr Jenkins looking askance, Shannon takes Olga
gently by the arm, and with Paddy following, leads her to two front row seats. Shannon returns to her seat.
Marie has witnessed the entire scene.
Olga sees Marie but now Marie's head is bowed as she studies her hands with unnatural interest.
Carly and Sarah wave excitedly at Olga. Seeing them Olga
waves back smiling broadly.
Susan turns to Marie.
SUSAN
(whispers) You OK?
Marie lifts her head.
TEENAGE MARIE
Yes - yes I am.
SUSAN
(whispers) I've made up my mind. I'm going to
try and find her Marie, I'm going to find my Mum. She should be here
to see me graduate. Look at those Mums down there, bursting with
pride because their daughters are graduating.
Marie looks at Susan then across at Carly and Sarah and along the row to Shannon, all without mothers.
The hall goes silent as the Choir exquisitely perform AVE
MARIA. Olga sits utterly mesmerized. Paddy looks at Olga and sees the hymn is having a powerful effect on her. She
trembles and Paddy takes her hand.
As the choir finishes the audience applaud enthusiastically.
Miss Alexander gets up and walks to the lectern. She turns to the choir.
MISS ALEXANDER
Thank you. That was simply beautiful.
She turns back to the audience.
115
MISS ALEXANDER (CONT'D)
Good afternoon Ladies and Gentlemen and Pupils. An end of year award ceremony is always such
a special occasion. The culmination of years of hard work,
realizing goals and acknowledging what has been achieved. Our
leaving pupils have striven to work to their potential, they
aimed high, they set their goals and for the most part, they not only achieved them, I believe some
may have surpassed them.
She turns and addresses the pupils.
MISS ALEXANDER (CONT'D) So Ladies, as you face and tackle
the inevitable changes, remember to hold onto your values, your
work ethic and most importantly, your humanity. It is these qualities that will guide you
further on your journey.
Your life is a remarkable occasion and I have no doubt that you will
rise to it.
She turns back to the audience.
MISS ALEXANDER (CONT'D)
We will now hand out the certificates.
As the first pupil steps onto the stage and receives her
certificate, the choir perform another song. As each pupil collects their certificate they return to their seat to the
sound of applause.
Marie is the third pupil to receive her certificate. Olga watches proudly as her daughter collects it.
OLGA You know Paddy, I don't think
it's possible for me to ever again feel as much pride as I do
right now.
He takes her hand.
PADDY Good job done, Olga.
116
As Marie takes her certificate Olga makes the Sign of the
Cross. With tears in her eyes she stands up to applaud her daughter.
Marie starts to return to her seat. She looks out to the audience and sees Olga on her feet applauding her. Marie
continues on a few steps before she turns in the direction of the audience, walks down to her mother and hugs her
tightly.
TEENAGE MARIE (whispers)
I'm sorry.
As Olga puts her arms around her daughter momentarily there
is silence from those witnessing the scene. The choir, Shannon, Susan, Priscilla and Rosalind and the rest of the
graduation students look on in silent astonishment as they realise Olga is Marie's mother.
Miss Alexander looks on with a beatific smile.
THREE YEARS LATER
EXT. A PRETTY TREE LINED STREET
A white modern art deco block of flats.
INT. HALLWAY
On the ground floor is Flat 1. ADULT MARIE takes a key from her pocket and unlocks the door. Marie holds the door
open for Olga.
ADULT MARIE Come in Mum. It's our new home.
Olga looks around the apartment transfixed. The room has
nice quality furniture and is comfortably furnished. French windows lead out into a garden. There is a telephone on a side table.
ADULT MARIE
Do you like it Mum?
Olga walks over to the sofa and slowly sits down. She looks at her daughter with bewilderment.
OLGA
You can afford to live in a lovely place like this?
117
Marie looks at Olga with great tenderness.
ADULT MARIE Yes, Mum, we can, but only because
you did the best for me every single day of my life.
Marie hesitates before she next speaks.
ADULT MARIE
There's something else. I put a notice in a Jamaican newspaper asking for any of your
relatives to contact me.
Olga looks solemnly at her daughter.
OLGA And?
ADULT MARIE
I found your family.
The telephone rings. Marie answers it. There is silence as
Marie listens to the caller.
ADULT MARIE Yes, just a minute.
Smilingly Marie passes the phone to Olga. Olga looks
questioningly at her daughter.
ADULT MARIE
It's your sister Dolly.
Olga's hand shakes as she takes the phone.
OLGA (softly)
Hello.
Silence.
OLGA
Yes, this is Olga.
Silence.
OLGA Dolly? Oh Dolly, is it really you?
THE END