diff --git "a/scripts/1917.txt" "b/scripts/1917.txt" new file mode 100644--- /dev/null +++ "b/scripts/1917.txt" @@ -0,0 +1,6572 @@ + 1. + + + + II + ‘Life, to be sure, Is nothing much + to lose, But young men think it is, + And we were young.’ + + -A.E. Housman + + ‘We have so much to say, and we shall never say it.’ + + -Erich Maria Remarque + + All Quiet On The Western Front + + III + NOTE: + + The following script takes place in real time, and - with + the exception of one moment - is written and designed to be + one single continuous shot. + + +1 EXT. MEADOW - DAY - APRIL 6TH 1917 1 + + A rolling landscape. The rustling of leaves, and birdsong. + + Thunder rumbles in the distance. There is no rain. + + A figure lies against a tree, eyes closed - this is + SCHOFIELD, early-20s. Soft features. + + A man is sleeping next to him on the grass - BLAKE, 19, + youthful, strapping. + + SERGEANT SANDERS (O.S.) + Blake. + + Blake doesn’t stir. + + SERGEANT SANDERS (O.S.) + Blake! + + Blake wakes. He’s in uniform, damp and crumpled - Lance + Corporal chevrons adorn it. + + BLAKE + (sleepily) + Sorry, Sarge. + + SERGEANT SANDERS + Pick a man, bring your kit. + 2. + + + BLAKE + Yes, Sarge. + +Blake stands, stiff limbs coming back to life. + +Schofield’s eyes are still shut. Blake holds out his hand +to Schofield. Schofield opens his eyes - they are gentle, +wise. + +Schofield grudgingly raises his hand for a lift. + +Blake heaves him to his feet - his uniform is identical to +Blake’s, same rank, the only difference is the brass wound +stripe on Schofield’s left sleeve. + +They trudge towards Sanders, fastening their webbing. A +smattering of SOLDIERS - same regiment - same state of +fatigue and filth, lie around them. Stealing sleep. + + SERGEANT SANDERS (O.S.) + Don’t dawdle. + + BLAKE + No, Sarge. + +After a few paces the long grass begins to give way to well +trodden earth. Washing lines appears on either side of +them. + +Blake and Schofield move past them. After a while - + + BLAKE + Did they feed us? + +Schofield shakes his head, he hands an envelope to Blake. + + SCHOFIELD + No, just mail. + +Blake’s eyes light up at the sight of the envelope, he +tears it open, reads it as he walks. Eyes scanning quickly, +his face filling with warmth. + + BLAKE + (reading) + Myrtle’s having puppies. + +Blake finishes the note and slips it into a pocket. + + BLAKE + You get anything? + 3. + + + SCHOFIELD + No. + + Schofield doesn’t seem to mind. + + The mess tents are now alongside. Fires are stoked, cooking + is underway. More soldiers mill about. + + BLAKE + I’m bloody starving, aren’t you? I + thought we might get some decent + grub out here - only reason I + decided against the priesthood. + + Schofield lets out a laugh. Blake looks on hungrily as they + pass by the mess tents. + + Schofield rummages in his pockets, finds what he’s looking + for - a handkerchief with some food wrapped in it. Blake’s + eyes fall on it hungrily. + + BLAKE + What you got there? + + SCHOFIELD + Ham and bread. + + BLAKE + Where did you find that? + + SCHOFIELD + I have my uses. + + Schofield breaks the bread in half. As he does this, they + move down a slope, and begin to descend down into the + earth, into-- + + +2 EXT. COMMS TRENCH - DAY - CONTINUOUS 2 + + A narrow Comms trench. + + SCHOFIELD + Here- + + The bread is stale, practically cardboard. Blake’s teeth + struggle to get through it. + + BLAKE + (mouth full of food) + Tastes like old shoe. + + SCHOFIELD + 4. + + + Cheer up. This time next week it’ll + be chicken dinner. + +The trench drops deeper into the earth... + + BLAKE + Not me. Leave got cancelled. + + SCHOFIELD + They say why? + + BLAKE + No idea. + +A beat. The world above has now disappeared. + + SCHOFIELD + It’s easier not to go back at all. + +Blake registers this - looks at him. + +The wider Rear Trench crosses their path. Chains of +soldiers move past them - shifting crates, ammunition, +cooking, and medical supplies. + + BLAKE + (looking at the soldiers) + Something’s up. + +Expectation is growing in Blake. But Schofield looks +concerned. They cut a route through the bustle. + + BLAKE + Did you hear anything? + + SCHOFIELD + No. + + BLAKE + Has to be the push, right? + +Men carrying things push past them. Blake watches. + + BLAKE + Ten bob says we’re going up. + + SCHOFIELD + I’m not taking that bet. + + BLAKE + Why? ‘Cos you know I’m right? + 5. + + + SCHOFIELD + No. ‘Cos you haven’t got ten bob. + + Blake laughs. + + They follow Sanders into- + + +3 EXT. SECOND TRENCH - CONTINUOUS 3 + + They turn into a wider second line trench. + + SERGEANT SANDERS + In your own time, gentlemen... + + Up ahead, Sanders waits. + + Blake and Schofield put on speed, catch Sanders. + + BLAKE + Is there news, Sarge? + + SERGEANT SANDERS + News of what? + + BLAKE + The big push. It was supposed to + happen weeks ago. They told us we’d + be home by Christmas. + + SERGEANT SANDERS + (mild sarcasm) + Yes, well, sorry to disrupt your + crowded schedule, Blake, but the + Brass Hats didn’t fancy it in the + snow. + + BLAKE + More’s the pity Sarge, I could have + done with some turkey. + + SERGEANT SANDERS + Well, I’ll make sure to relay your + displeasure to command. + + Ahead and above them is a web of telegraph wires - + stretching overhead and along the trench. THREE ROYAL + ENGINEERS are working on them, tagging and testing. They + duck around them. + + SCHOFIELD + So what’s on the cards then, + Sergeant? + 6. + + + SERGEANT SANDERS + The Hun are up to something. + + SCHOFIELD + Any idea what? + + SERGEANT SANDERS + No - but it’s bound to ruin our + weekend. + + Sanders turns a corner, and comes to a stop. Just beyond + him is the dark, yawning mouth of a Dugout. + + SERGEANT SANDERS + Now listen, Erinmore is inside, so + tidy yourselves up. + + They are suddenly alert. + + SERGEANT SANDERS + You never know - might be mentions + in dispatches for this one, if you + don’t bugger it up. + + Sanders gives them a look, and disappears inside the + dugout. + + Schofield quickly buttons up his tunic, hiding any sins + there may be underneath. + + Blake nervously tidies himself, leans in to Schofield. + + BLAKE + Must be something big if the + General’s here. + + They enter. + + +4 INT. DUGOUT - CONTINUOUS 4 + + Lit by paraffin lamps, it takes Schofield a moment for his + eyes to adjust to the half-light. He and Blake hand their + rifles to the ORDERLIES, salute, and stand at attention. + + There is a simmering sense of unease in this place. + + In the centre of the room, there are two tables. On one + table lie several maps, on the other are a number of large + aerial reconnaissance photographs. + 7. + + +GENERAL ERINMORE (50s), LIEUTENANT GORDON (40s) and a +CAPTAIN are gathered around the far table, looking down at +the aerials, talking in hushed tones. + +Other men watch from the shadows - TWO NCOs and ANOTHER +ORDERLY. + + SERGEANT SANDERS + Lance Corporals Blake and + Schofield, Sir. + +General Erinmore turns around. Looks at Blake and +Schofield. + + GENERAL ERINMORE + Which one of you is Blake? + + BLAKE + Sir. + + ERINMORE + You have a brother, a Lieutenant in + the 2nd Devons? + + BLAKE + Yes, sir. Joseph Blake. Is he- + + ERINMORE + Alive, as far as I know. And with + your help I’d like to keep it that + way. + +Blake stares at Erinmore, he would do anything. + + ERINMORE + Sanders tells me you’re good with + maps. That true? + + BLAKE + Good enough, Sir. + + ERINMORE + So. + +Erinmore turns the map to face Blake. The British lines are +marked in blue, the German lines in red. + + ERINMORE + We are here. The 2nd Devons are + advancing here. + +He points out a cross on the map at Croisilles Wood. + 8. + + + ERINMORE + How long will it take you to get + there? + +Blake hesitantly studies it. Croisilles Wood sits in the +centre of a huge area of land, which is scored as occupied +territory. + + BLAKE + I don’t understand, Sir. + + SCHOFIELD + Sir, that land is held by the + Germans. + + ERINMORE + Germans have gone. + +Shock plays on their faces. + + ERINMORE + Don’t get your hopes up. It appears + to be a strategic withdrawal. They + seem to have created a new line, + nine miles back here, by the looks + of it. + +Erinmore runs his finger along the massed red lines of the +German trenches and fortifications, newly drawn on the map. + +The new German Line - what came to be known as the +Hindenburg Line - is huge, and cuts its way across the +paper, almost intersecting with Croisilles Wood. + + ERINMORE + Colonel Mackenzie is in command of + the 2nd. He sent word yesterday + morning that he was going after the + retreating Germans. He is convinced + he has them on the run - that if he + can break their lines now, he will + turn the tide. He is wrong. + +Schofield watches Blake as he begins to register what this +might mean. + + ERINMORE + Colonel Mackenzie has not seen + these aerials of the enemy’s new + line. + +Erinmore turns to the other table. + 9. + + + ERINMORE + Come round here, Gentlemen. + +Blake and Schofield move to the next table. They look down +at the large aerial photographs. + + ERINMORE + Three miles deep. Field + fortifications, defences and + artillery the like of which we’ve + never seen before. + +Beat. + + ERINMORE + The 2nd are due to attack the line + shortly after dawn tomorrow. They + have no idea what they are in for. + And we can’t warn them - as a + parting gift, the enemy cut all our + telephone lines. + +Blake and Schofield are silent while they take this in. + + ERINMORE + Your orders are to get to the 2nd + at Croisilles Wood, one mile south + east of the town of Ecoust. + +Erinmore hands over an envelope to Blake. We see the +distinctive red stamp of Army Command. + + ERINMORE + Deliver this to Colonel Mackenzie. + It is a direct order to call off + tomorrow morning’s attack. + +Erinmore speaks slowly, desperate to impress upon Blake and +Schofield the gravity of this situation. Nothing can be +misunderstood. + + ERINMORE + If you don’t, it will be a + massacre. We would lose two + battalions. Sixteen hundred men, + your brother among them. + +Schofield hides his shock. But Blake looks at Erinmore, +determination etched in his face: understood. + + ERINMORE + Do you think you can get there in + time? + 10. + + + BLAKE + Yes, Sir. + + ERINMORE + Any questions? + + BLAKE + No, Sir. + +Schofield eyes flick to Blake: No questions? Blake +purposely doesn’t catch Schofield’s eye. + + ERINMORE + Good. Over to you, Lieutenant. + +The men salute Erinmore. Lieutenant Gordon, stands to one +side. + + LIEUTENANT GORDON + Supplies, Gentlemen. + +Lt. Gordon nods them over to a table. Various items are +laid out on it. + + LIEUTENANT GORDON + Map, torches, grenades, and a + couple of little treats. + +They look. A folded map, two electric torches, two grenades +and two small packs of Huntley and Palmer biscuits lie on +the table. They take them and start hastily putting them +into their webbing. While they do: + + LIEUTENANT GORDON + Leave immediately, take this trench + west, up on Sauchiehall Street, + then north west on Paradise Alley + at the front. Continue along the + front line until you find the + Yorks. + +Gordon slides a note into Blake’s top pocket. + + LIEUTENANT GORDON + Give this note to Major Stevenson. + He’s holding the line at the + shortest span of No Man’s Land. + You’ll cross there. + +Both men turn at the mention of No Man’s Land. + + SCHOFIELD + 11. + + + It will be daylight, Sir. They’ll + see us. + + ERINMORE (O.C.) + No need to be concerned. You should + meet no resistance. + + An Orderly hands them back their rifles. + + Blake moves towards the doorway. Schofield turns to + Erinmore. + + SCHOFIELD + Sir, is it just us? + + Erinmore looks up. + + ERINMORE + “Down to Gehenna or up to the + Throne + + ERINMORE + He travels the fastest who travels + alone.” Wouldn’t you say, + Lieutenant? + + LIEUTENANT GORDON + Yes, Sir. I would. + + The General looks at them levelly. + + ERINMORE + Good luck. + + Blake and Schofield turn and head through the door- + + +5 EXT. SECOND LINE TRENCH - CONTINUOUS 5 + + Schofield’s eyes wince in the daylight. A small curved + branch leads from the rear of the dugout back to the Second + Line. + + SCHOFIELD + Blake - let’s talk about this for a + minute. + + BLAKE + Why? + + Blake is already off, moving fast. + 12. + + +Schofield moves after him, trying to fill and fasten his +webbing as he goes. + + SCHOFIELD + Blake! + +Blake begins to move faster, setting a punishing pace. +Boots clattering over the wooden boards. + + SCHOFIELD + We just need to think about it- + + BLAKE + -There’s nothing to think about. + It’s my big brother. + +Schofield runs to catch up, he falls in behind Blake, +breathing heavy. + + SCHOFIELD + We should at least wait till it’s + dark- + + BLAKE + Erinmore said to leave immediately. + + SCHOFIELD + Erinmore’s never seen No Man’s + Land. We won’t make it ten yards. + If we just wait- + + BLAKE + You heard him. He said the Boche + have gone. + + SCHOFIELD + Is that why he gave us grenades? + +The Second line runs through a small row of derelict +railway cottages. Braziers have been lit, men mill around +queueing to collect their rations. + +Schofield and Blake push themselves to the edge of the +trench to get around the crush. + +Blake is through and clear, but Schofield bumps into a +Sergeant. + + SERGEANT + Watch where you’re going! + + SCHOFIELD + Sorry. + 13. + + + Blake keeps pace, Schofield jogs to catch him. + + SCHOFIELD + All I’m saying is that we wait. + + BLAKE + Yes, you would say that, because + it’s not your brother, is it? + + Schofield moves alongside Blake again, grabs his arm. + + SCHOFIELD + Look, the last time I was told the + Germans were gone, it didn’t end + well. + + Blake shakes him off, and pushes his way forward, squeezing + in and out of the lines of traffic - His shoulder and pack + battering against MEN as he passes them. + + SCHOFIELD + You don’t know, Blake, you weren’t + there. + + Ahead a group of men are bunched up collecting mail and + parcels from the post bag. Gumming up the trench. + + BLAKE + Excuse me... Excuse me! + + Blake and Schofield squeeze past them. + + Another junction. A painted sign: “SAUCHIEHALL STREET” + points to a smaller branching comms line. Blake turns up + it. + + Schofield follows- + + +6 EXT. SAUCHIEHALL LINE - COMMS “DOWN” TRENCH - CONTINUOUS 6 + + Much narrower. Blake pushes onwards, going against the + direction of the traffic. Schofield follows after him, + single file, increasingly frustrated. Soldiers buffet + against them. + + A Sergeant snarls at them. + + SERGEANT MILLER + You’re going up a down trench you + bloody idiots. + + BLAKE + 14. + + + Orders of the General, Sir. + + Schofield follows, catching the ire from the men Blake has + just passed. He checks his watch. + + SCHOFIELD + Alright, say the Boche have gone. + Nine miles will take us, what, six + hours? Eight at the very most. So + we’ve got time to wait until the + sun sets. Otherwise we’ll be wide + open- + + BLAKE + -It’s enemy territory, we’ve got no + idea what we’re walking into- + + SCHOFIELD + -Blake, if we’re not clever about + this, no one will get to your + brother. + + BLAKE + I will. + + Blake’s tone indicates that this is the end of the + conversation. + + They are approaching a junction. They slow down. A flicker + of fear on both of their faces. + + SCHOFIELD + We’re here. This is the front line. + + +7 EXT. PARADISE - FRONT LINE - TRENCH - CONTINUOUS 7 + + The Front Line. + + A sign hangs on the junction wall: PARADISE ALLEY. Just + visible above the trench wall to the front is an endless + line of wire. + + BLAKE + Now we need to find the Yorks. + + There is an eeriness here, a sudden smothering silence. + + Blake looks around. Trying to work out which way is North + West. + + Blake heads in that direction, moving fast again. Schofield + follows alongside him. + 15. + + +The trench stretches away from them, in a long line. + +Duckboards slick with mud mark out a path. + +There are many men here, and many pairs of eyes watch from +the shadows of dugouts. + +Crudely painted signs are strung up along the walls, dire +warnings. We catch glimpses as Blake and Schofield pass: + +KEEP YOUR HEAD DOWN IN DAYLIGHT! ENEMY SNIPERS AT PLAY! + +They walk single file down the Front Line. + +TWO STRETCHER BEARERS are heading towards them, A MAN +carried between them. Schofield drops back, looks down. The +man is unconscious, his face bandaged - two red bloodstains +in place of eyes. + +Fear is rooting itself in Schofield. He fights it. + +Schofield looks up, he’s briefly lost sight of Blake round +the next bend. He moves to catch up. He hears voices. + + PRIVATE STOKES (O.S.) + Here, watch who you’re shoving. + + BLAKE (O.S.) + Get out of the way then. + +Schofield’s puts on speed, quickly pushes aside the soldier +in front of him. + +He makes his way to Blake, three SOLDIERS have surrounded +him. One, PRIVATE STOKES - a large red-haired bruiser, with +tattoos on his forearms - is gripping Blake’s tunic. Blake +has him by the collar. Both are angry. Blake is on the +verge of tears. + + BLAKE + Let go. + + PRIVATE STOKES + Fuck you think you are, pushing + wounded men around? + +Schofield is quickly into the fray, putting himself in +between Blake and the Private. + + BLAKE + Let go of me! + 16. + + + SCHOFIELD + Stop. + + PRIVATE STOKES + Arsehole knocked our Sergeant down, + the man’s fucking wounded- + +Beside them an NCO with a sling on, is being helped out of +the mud. + + BLAKE + Alright. I’m sorry, alright, I’m + sorry. + +Blake struggles to get free, tears of frustration well in +his eyes. Schofield sees this, realises Blake is on the +verge of losing control. + +The Private’s hand balls into a fist, his anger simmering. + +Schofield gets between them. + + SCHOFIELD + We’re on commission. Orders from + the General. + + BLAKE + Let me through. + +Stokes stops. + + SCHOFIELD + (levelly) + Get out of the way. + + PRIVATE STOKES + Right. Just watch where you’re + going. + +The other men move aside to give them a passage through. + +They keep moving. Schofield is a step behind Blake, he +steals glances at him, concerned. + +The two men walk on, the silence heavier. After a while - + + SCHOFIELD + It’s bloody quiet... + +A beat. Blake looks at Schofield. + + BLAKE + 17. + + + Was it like this before Thiepval? + +The name does something to Schofield. Fear clings to him. +He pushes it away. + + SCHOFIELD + I don’t remember. + + BLAKE + You don’t remember the Somme? + + SCHOFIELD + Not really. + + BLAKE + Well, you did alright out of it. At + least wear your ribbon. + +Beat. + + SCHOFIELD + Don’t have it anymore. + +They push on round the next bend. + + BLAKE + What? You lost your medal? + +Before he can answer, the trench suddenly expands - the +back wall has been blown out into a large crater. Debris +and sandbags are strewn around. A small team of DIGGERS +work on it with picks and shovels, breaking up the earth, +pulling out body parts from the mud, putting them in empty +sandbags. + + SCHOFIELD + Stay low. + +Schofield climbs over the rubble and sandbags, crushing his +body to keep his head below the front parapet. + +Blake follows. One of the diggers turns to Schofield, his +voice a harsh whisper. + + NCO HARVEY + God’s sake. Careful there, you’re + stepping on the dead. + +Schofield looks at the sandbag, 15 inches by 25. Red is +rusting through it. + + NCO HARVEY + That’s our Sergeant - + 18. + + +Schofield quickly moves off the bag. + + NCO HARVEY + Be better washing them out of this + dugout with a bloody hose. + + BLAKE + Do you know where the Yorks are? + + NCO HARVEY + The next bend you’ll be standing on + top of half of them. Shot to hell + two nights ago. + +Blake and Schofield continue. They slip round a bend and +into a small bay. + +They stop by two men - one is burning the lice from his +clothes with a lighter Another, BUCHANAN, sits against the +back wall, a small dog on his lap. + + SCHOFIELD + Yorks? + +Buchanan nods. + + PRIVATE BUCHANAN + Yes, Corp. + + BLAKE + Where’s Major Stevenson? + + PRIVATE BUCHANAN + Killed a couple of nights ago, + Corporal. Lieutenant Leslie has + command. + + BLAKE + Where can we find him? + +Buchanan nods down the line. + + PRIVATE BUCHANAN + Next dug-out. + +They round the bend and spot the dugout. It has been badly +shelled, but patched and re-built. A fire is lit in a +brazier just outside the door. Inside, a provisions bag and +a few other wooden items hang from a rafter, out of reach +of the rats. + + SCHOFIELD + Here. + 19. + + +LT. LESLIE is asleep on a small camp bed, his arm over his +eyes. A couple of ORDERLIES sit or lie nearby. + +They approach the sleeping Leslie. + + BLAKE + Sir? + +He doesn’t stir. Blake speaks louder. + + BLAKE + Lieutenant Leslie, Sir? + +Leslie stirs a little, he doesn’t move his arm from his +eyes. + + LIEUTENANT LESLIE + What is it? + + BLAKE + We have a message from General + Erinmore. + +Leslie looks up, his face shines with sweat, his voice is +croaky, full of flu, a little delirious. + + LIEUTENANT LESLIE + Are you our relief? + +Schofield shakes his head. + + SCHOFIELD + No, Sir. + + LIEUTENANT LESLIE + Then when the fucking hell are they + due? + + BLAKE + We don’t know, Sir. But we’ve got + orders to cross here. + +Blake offers the letter. + +Leslie sits up. Looks at them queerly. + + LIEUTENANT LESLIE + That is the German front line. + + BLAKE + We know, Sir. If you’ll just take + the letter- + 20. + + +Blake hands over Erinmore’s letter. Leslie sighs, tears it +open and reads quickly. + + LIEUTENANT LESLIE + (as he reads) + Settle a bet, what day is it? + + SCHOFIELD + Friday. + + LIEUTENANT LESLIE + Friday. Well, well, well. None of + us was right. This idiot thought it + was Tuesday. + (off the letter) + Are they out of their fucking + minds? + + LIEUTENANT LESLIE + One slow night, and the brass think + the Hun have just gone home. + + SCHOFIELD + (looking at Blake) + Do you think they’re wrong, Sir? + + LIEUTENANT LESLIE + We lost an officer and three men + two nights ago. They were shot to + bits patching up wire. We dragged + two of them back here. Needn’t have + bothered. + +Blake is determined to press on. + + BLAKE + Sir, the General is sure the enemy + have withdrawn. There are aerials + of the new line- + +Leslie gets to his feet. + + LIEUTENANT LESLIE + Shut up. We’ve fought and died over + every inch of this fucking place, + now they suddenly give us miles? + +Schofield turns and stares at Blake. + +Blake won’t meet his eye. + + LIEUTENANT LESLIE + It’s a trap. + 21. + + +Leslie leans in to Schofield. + + LIEUTENANT LESLIE + But, chin up. There’s a medal in it + for sure. Nothing like a scrap of + ribbon to cheer up a widow. + +Schofield stares at him like he would lift him out of his +boots with one punch. + + LIEUTENANT LESLIE + Alright. + +Leslie walks out of the dugout. As he walks- + + BLAKE + Where’s the nearest way through, + Sir? + + LIEUTENANT LESLIE + Our wire’s a mess. But there is a + path through. Of sorts. + +He leads them a few paces to a small dead-end lookout +trench, half earth, half corrugated steel. At the end of it +is a rudimentary periscope. + + LIEUTENANT LESLIE + (to the soldier) + Rushworth! Let him look. + +The soldier manning it steps away to allow them to look. + +Blake presses his eye to the lens. + + LIEUTENANT LESLIE + Straight ahead, to the left, past + the dead horses- + +Blake squints, moves the periscope. While Blake does this, +Leslie lights a cigarette, his hands shaking. + + LIEUTENANT LESLIE + There’s a gap directly behind them. + Useful, because if it’s dark you + follow the stench. When you get to + the second wire, look out for the + bowing chap. There’s small break + just beside him. + +As Blake scans the terrain with the periscope, Schofield +methodically prepares himself. + 22. + + + LIEUTENANT LESLIE + The German line is a hundred and + fifty odd yards after that. Watch + out for the craters. They’re deeper + than they look. You fall in, + there’s no getting out. + +Leslie indicates for them to follow. + + LIEUTENANT LESLIE + This way. + +Leslie kicks at a sleeping PRIVATE KILGOUR as he walks. + + LIEUTENANT LESLIE + Wake up, Kilgour. + (to himself) + Bloody waste of space. + + SCHOFIELD + Any cover, Sir? Anywhere to jump + off from? + +Leslie leads them to a wide ladder leaning against the +trench wall. + + LIEUTENANT LESLIE + No. The sap trench was blown to + hell weeks ago. It’s full of bodies + anyway. Your best bet is to pop + over here. + +Blake and Schofield stop by the ladder, ready themselves, +checking and loading their rifles, fixing their bayonets + + LIEUTENANT LESLIE + If you do get shot, try to make it + back to the wire. We won’t come + after you, not until it’s dark. + And, if by some fucking miracle you + do make it, send up a flare. + + SCHOFIELD + Don’t have any, Sir. + +Leslie gestures impatiently to a nearby PRIVATE KILGOUR. + + LIEUTENANT LESLIE + Well get him one, Kilgour! Make + yourself useful. + + PRIVATE KILGOUR + Yes, Sir. + 23. + + +Kilgour goes to fetch the flare gun, Leslie amuses himself: + + LIEUTENANT LESLIE + (sprinkling whisky on the + men) + “Through this holy unction may the + Lord pardon thee whatever sins or + faults thou hast committed” + +Leslie laughs mirthlessly. Schofield and Blake try to stay +focused. + +Kilgour hands Leslie a flare pistol and two cartridges. + + LIEUTENANT LESLIE + I do hate losing these to the Hun. + So when they start shooting at you, + could you be so kind as to throw it + back, there’s a good chap. + +Blake tucks the flare and cartridges into his pack. + + LIEUTENANT LESLIE + Cheerio. + +Leslie steps back. A crowd of MEN have now gathered behind +him to watch Blake and Schofield, their faces a combination +of shock and fascination. + +Blake and Schofield climb onto the firing step. + +Schofield looks at Blake, speaks quietly to him. + + SCHOFIELD + You sure? + +Blake isn’t. But he nods. + + BLAKE + Yes. + +Blake goes to climb over. Schofield stops him. + + SCHOFIELD + Age before beauty. + +Schofield takes a deep breath, and goes first. He puts one +hand over the parapet. Then the other. + +Slowly he advances up, his head inching over the protection +of the trench. His hand is shaking, he drives it into the +mud, grasping for purchase. + 24. + + + Everyone is still, breathless, listening for the enemy to + fire. + + Schofield drags his body up and over into - + + +8 EXT. NO MAN'S LAND - CONTINUOUS 8 + + Vast, almost unbearably open after the close quarters of + the trench. + + A light mist hangs low over the land. + + The ground is treacle-like. Schofield’s hands and knees + sink into it as he pulls himself forward, his eyes are + trained through the British wire towards the German lines. + + The whole world is lunar and empty. Earth pounded to atoms, + all mounds and holes. + + Nothing moves. Nothing lives. + + The only sound is Blake’s breathing as he heaves himself + out of the trench beside Schofield. + + Both men are still for a beat. Hunched down low on their + knees, two nocturnal animals caught in the daylight. + + British wire runs in loops ahead of them, tangled and + haphazardly strung. A mess to navigate through. + + They get to their feet and move forwards over the slick + earth, towards the putrid remains of the horses. Breathing + through their mouths, trying to deal with the stench. + + A layer of black fur covers the animals, as Schofield and + Blake close in on them they see the fur is actually flies, + hundreds of them. + + Schofield moves past the remains and through the first + break in the wire. The path is pocked with craters and + puddles, shrapnel litters everything. + + Blake follows Schofield through the channel - ahead, on the + second wire, is “the bowing chap” - a GERMAN SOLDIER, dead, + bent double over the wire, one arm outstretched in a + courtly manner, as if bowing. + 25. + + +Schofield doesn’t linger on the dead German, doesn’t look +at his face. He focuses on the task at hand. To the side of +the man is a small gap in the razor wire, easy to miss +without the landmark. Schofield struggles to further pull +apart the dense tangle of wire. He indicates for Blake to +pass through. + +As he does so, Schofield slips in the mud. His hand +instinctively closes around the wire. It slices into his +palm, hooking into his flesh. + +Bright red seeps along his hand, he wrenches it back, +tearing the skin to free himself. A heavy breath hisses out +of him. + +He balls his hand into a fist to stem the bleeding. + + BLAKE (O.C.) + You alright? + +Blake looks at him with concern. Schofield nods that he’s +fine. + + SCHOFIELD + Look for cover. + +Everything after here is unnatural land. Craters are gouged +out of the earth. There is a rise and fall to this stretch, +but no flow or reason to it. + +About a hundred yards from them, in the distance, is an +artificial horizon, something grey, mesh-like, stretching +the entire length of the land - The German Wire. Occasional +dead trees dot the land beyond. + +Blake goes into the closest crater. He looks to Schofield, +some silent communication. Schofield’s eyes pull out a path +where there isn’t one. + + SCHOFIELD + Sap trench. + +Schofield goes first, crouching low, moving faster now, +picking his way towards a hole in the earth. + +And then jumps directly into the old sap trench. + +Blown out and neglected, it is now little more than a +ditch, but it offers a stretch of cover. + +Schofield checks his wounded hand. It pulses blood. He +feels as if he is being watched. He looks around. + 26. + + +Next to him is the body of a German soldier; face down in +the mud, rats are on the corpse, feasting. + +Blake jumps into the sap just next to Schofield. He lands +right next to A DEAD MAN, looking straight at them. He is +sitting up, his lips and eyes have been chewed off by rats. + +White teeth grin in a pale face. + +Blake reflexively scrambles back in horror, knocking into +Schofield. Schofield slips, reaches out to steady himself, +and grabs at the first thing he finds - the BODY OF THE +GERMAN. + +Schofield’s wounded hand lands on the man’s back and sinks +- right through. + +Schofield’s cut hand goes into the putrid flesh. + +Beside him, Blake is frozen. Panicking. + +Schofield gestures to him - ‘stay calm’. Blake tries to +steady himself. + +They move further along the side of the sap trench. +Schofield peers out. About eighty yards now to the German +wire. + +They gather themselves. Schofield takes the lead. He pulls +himself out of the sap, Blake follows. + +They move, crouched low. Watching. Waiting for guns to open +on them. + +Silence. + +The land is flatter here. There is an eerie feeling of +emptiness and silence. Schofield and Blake keep moving +forwards, trying to stay focused. Crouching to keep low. + +The mud is like oil, but some things are solid underfoot. + +Outlines of guns, shrapnel, unexploded shells, bodies. + +Suddenly a loud sound approaching. + +TWO PLANES. + +Blake and Schofield both move quickly to the nearest shell- +hole. They throw themselves in and freeze. Keeping the +brims of their helmets low, hiding their faces from the +planes above. Blending in to the landscape around them. + 27. + + + SCHOFIELD + (Sotto) + Stay still. + +The engines grow louder. The planes fly close overhead, and +then begin to recede into the distance. + +Both men now turn their heads to look at them. + + SCHOFIELD + (Sotto) + They’re ours. + +Blake nods. + + SCHOFIELD + (Sotto) + Keep going. We’re half way. + +They move back out into the open expanse. + +Large shell holes appear on either side of them. They pick +their way through them, balancing carefully along the +ridges. + +They climb to the top of a small hillock and suddenly on +the other-side - vertigo. The ground falls away steeply in +a mine crater, stories deep. + +They look down into it. + + BLAKE + There’s a gap in the wire. + +We can see the base of the crater: The nearest line of +German wire has been split by the blast, and hangs limply +down the side wall of the crater, the other half of it +disappears into a huge pool of water at its base. + +They meet each other’s gaze. An obvious way through the +wire. + +It’s clear they need to go down into the crater. + +They slide carefully down the steep bank. + +At the base of the crater the water is fathomless - the +colour of mucus, and the same consistency. A DEAD GERMAN +floats in it, bloated. + +Blake follows in Schofield’s exact footsteps, walking +around the edge of the pool. + 28. + + +Blake looks into the pool. Things float in it. Bodies. The +pages of a letter, a cigarette tin, a water canteen. + +Ahead of them, halfway up the far bank another line of +German wire - the main one - is suspended across the +crater. There is a gap beneath the wire. + +They climb up the far bank towards the gap. Blake is +struggling. + + BLAKE + Sco... + +Schofield helps him up the slope. + +The main German wire is a huge thicket of razor wire, +denser than a hedgerow. Using their hands, they dig into +the muddy sides of the crater, and pull themselves upwards, +through the German wire. + +Schofield looks - close to him, caught on the wire, a small +clump of human hair blows in the breeze. + +Hands and bayonets digging deep into the muddy bank, they +haul themselves out of the crater. Ahead of them is the +German Front Line. + + BLAKE + There! That’s the front line. + +They lift their rifles and aim them towards the German +line. + +Blake moves first. He quickly approaches the German trench. + +Schofield is next to him. + +Both men suck in a breath and stand tall, leaning over the +German sandbags. + +Their rifles sweep in unison down the length of the trench. + +Empty. Schofield turns to Blake. + + BLAKE + Fuck me. They really have gone. + +They look around in awe - this trench is massive, +fortified... and seemingly abandoned. Intermittent shell +holes have levelled large sections. + +Blake and Schofield drop down into the trench. + 29. + + +9 EXT. GERMAN FRONT LINE TRENCH - CONTINUOUS 9 + + This trench is better crafted than the British trench. + Deeper and well reinforced, and eerily empty. They are + alone. + + To one side the trench is smashed in. A mountain of earth + and debris. Blocked. + + Schofield crouches, attends to his bleeding hand. Blood + oozes out of it. + + BLAKE + Your hand alright? + + SCHOFIELD + Put it through an effing German. + + Schofield has taken out his canteen, he pours water on his + sliced up palm. Blake keeps watch. + + BLAKE + Patch it up. You’ll be wanking + again in no time. + + SCHOFIELD + Wrong hand. + + Blake laughs. + + Blake moves off, rifle ready. Schofield follows, wrapping a + bandage round his hand as they move. He tightens the + dressing with his teeth. Red seeps through the white gauze. + + Ahead of them is a brazier, full of spent white coal dust. + + Blake kicks it over, the white dust crumbles, red embers + glow - wisps of smoke. Still smouldering. + + Schofield turns to Blake, his eyes are on the embers too. + + SCHOFIELD + They’re not long gone. + + Blake hands tighten on his rifle, he pushes off, heading + east down- + + +10 EXT. GERMAN COMMS TRENCH - CONTINUOUS 10 + + Blake leads them into the deep, narrow trench. Creeping + forward quickly, eyes darting ahead, looking for any enemy. + 30. + + + The comms trench opens out into- + + +11 EXT. GERMAN SECOND LINE TRENCH - CONTINUOUS 11 + + Blake hovers by the mouth of the comms trench, peeking out. + + Another dead end. + + BLAKE + No good. + + Schofield is at his back. Their eyes scan the empty second + line trench. + + They push on in silence. + + Their footsteps click and echo over the duckboards. They + move, bayonets pointed forward. + + The trench takes a sharp turn. Schofield and Blake inch + round, rifles up, checking. + + Ahead of them the trench is destroyed. A direct hit. Earth, + sandbags, and huge splinters of timber jut out of the pile + of dirt. + + SCHOFIELD + Blocked. + + It is impassable. + + Next to them is the mouth of a dugout. A doorway. + + Blake peers into the darkness. + + Timber stairs descend two storeys down into the earth. + + BLAKE + This might be a way through. + + They click on their torches and move down the stairs. + + Whole tree trunks have been used to reinforce the walls. + They share a look. The sophistication of the Germans amazes + them. + + At the foot of the steps, Blake turns the corner. + + BLAKE (O.S.) + Jesus... + 31. + + + Schofield follows him quickly, the timber creaks under him + as he rounds into the mouth of- + + +12 INT. GERMAN DUGOUT - CONTINUOUS 12 + + He turns the corner and sees Blake, torch in hand. + + BLAKE + Look at this. It’s massive. + + The dugout is huge - an entire barracks carved out of the + chalky earth. It’s ghostly in the torch light. + + Timber struts run along walls and ceilings. Rows of bunk + beds run along the length of the huge room, stacked up to + the ceiling. + + BLAKE + They built all this. + + Blake and Schofield move through it, their torchlights + slicing through the darkness. It is palatial compared with + what we have seen on the British lines. + + Schofield’s eyes land on something - a photograph, + someone’s wife and child, pinned to a bed frame. Schofield + stares at it for a beat. + + Blake noses through some of the detritus left behind by the + Germans, then moves through into: + + The Officer’s Quarters: Iron bed frames, an arm chair, a + desk. In one corner are the remains of a cooking area, some + boxes of supplies lie abandoned. + + Next to one of the beds a tunnel stretches away from him + into the darkness. + + SCHOFIELD + Here’s our way through. + + BLAKE (O.C.) + Sco - how about this? + + Schofield turns to see Blake sitting on one of the + officers’ beds, bouncing gently. The springs squeak loudly + in the silence, he grins. Then movement catches his eye. A + massive rat gnaws on a canvass sack suspended form the roof + beams. + + BLAKE + 32. + + + Bloody hell... Even their rats are + bigger than ours. + +By the light of their torches, they can see a large, +bloated rat moving quickly along one of the roof beams. + +Their torches follow the rat, as it scampers along the +beam. + +The light catches more canvas sacks, all suspended from a +the ceiling. Grease is pooling at the base of them, turning +them translucent - bags of food, or at least an +approximation of it. Other frayed and empty canvas sacks +lie around. + + BLAKE + What do you think’s in the bags? + + SCHOFIELD + You cannot be that hungry. + +Blake thinks for a beat. + +The rat makes a leap for one, dropping from the rafter to +the canvas. The bag swings violently under the rat’s +weight, a pendulum in the middle of the room. + + BLAKE + Look at him. Cocky little bastard. + +Something has caught Schofield’s eye. A crate full of food +tins has been left in the corner. Schofield walks over and +grabs one. + + SCHOFIELD + You could eat this, though. + +He turns to read the writing in Blake’s torch light: +“Fleischkonserve” + + BLAKE + What is it? + +Schofield tosses a tin across the room to him. Blake +catches it, reads the label. + + SCHOFIELD + Boche dog meat. + + BLAKE + What’s in the other boxes? + +Schofield goes for the other crate... and freezes. + 33. + + + BLAKE + What’s wrong? + + SCHOFIELD + Trip wire. + +Blake stands stock still. + + SCHOFIELD + Don’t move. + +The two men are frozen. + + BLAKE + Where is it? + + SCHOFIELD + Goes from here to the door. + +Blake’s breath quickens as he scans the room, trying to +pick out the wire in the torchlight... The door is about +ten feet away. + +Suddenly - + +BAM! + +Both men jump - The rat and the canvas bag are on the +floor. + + BLAKE + Jesus! + +The rat is dragging the canvas bag towards the door to the +next room, desperate to keep its treasure from the two men. + + BLAKE + No...no! - + +Blake’s eyes go wide, he starts forward for the rat- + +The rat lets go of the bag and flees - into the wire. A +flash of blinding light then almost simultaneously- + +BOOM! + +Impossibly loud. The blast is reflected back in off the +solid walls, a section of roof drops. Dirt and chalk dust +blast outward. + +Blake is flung backwards against the wall with a thud. + 34. + + +White chalk dust swirls in the room, bright in the +torchlight. Blake’s torch lands on the floor, beam pointing +upwards at the ceiling. + +For a second there is silence. + +Blake begins to pant. The wind is knocked out of him. He +catches his breath. + +He feels his head, reaches for his torch. His eyes scan the +room. + +His torchlight slices through the dust and smoke. The world +has been turned over. Some parts are buried. And where +Schofield was standing - a pile of rubble. + +Panic streaks across his face. + +Then there is a sound. Muffled, from deep in the white +dirt. + +Screaming. + +Schofield is buried. + +Blake is on his feet, staggering towards the mound of chalk +and dust. Moving over it, ears to the dirt, listening. + +Schofield’s screams slip through it. + +Blake frantically begins to dig. + + BLAKE + Sco?! + +Ripping earth away from one spot, then listening to +Schofield’s muffled screams and moving to another. + +Desperation on his face. + + BLAKE + SCO! + +The screams are getting weaker. Disappearing beneath the +sounds of the timber creaking and groaning. + +Blake swims through the earth, sweeping it away- + +Schofield’s screams stop. + +Blake thrashes in the chalk - at last unearths - + 35. + + + Lips. Schofield’s mouth, wide open, filled with pale grey + dirt. Still. + + BLAKE + SCO! SCO! + + Blake tears the chalk away from his mouth and nose and + suddenly Schofield heaves into life, retches, coughing up + dirt, sawing in breaths. + + Blake uncovers Schofield’s face, his eyes are packed with + dirt and chalk. Blake keeps digging, frees Schofield’s arm, + chest. Schofield thrashes in the debris, trying to free + himself. He can’t. It’s too tightly packed. + + BLAKE + Sco! Wake up! Wake up! Sco! + + Blake grabs at Schofield’s arm and with all his might + wrenches him out of the dirt. + + BLAKE + Sco... Stand up! Stand up! Up! UP! + + Schofield is in shock - numb. Caked in the pale white + earth. + + His heaves and retches fill the tiny space. His body + shaking and contorting with shock. + + BLAKE + STAND UP! + + The timber is groaning all around them now. Blake looks up + at it. + + BLAKE + The whole thing’s coming down. + + As Blake looks, the chalk dust swirls in the air, drawn + towards the tunnel entrance, sucked out by the backdraft. + + Their way out. + + Blake stands, half-drags Schofield to his feet. Schofield + can hardly see out of his dust-filled eyes. Blake pulls him + over to the tunnel entrance. + + BLAKE + You keep hold of me! + + +13 INT. GERMAN TUNNEL - CONTINUOUS 13 + 36. + + +Carved through the chalk bedrock. Seven feet high and +reinforced with timber, some of which have already split in +the blast. The tunnel slopes gently down, deeper into the +earth. White walls reflect Blake’s torch. + +The earth around them groans, silt and dust piss from the +ceiling. + +Schofield coughs and convulses, grasping on to Blake, towed +along in his wake. + +The tunnel splits, one fork has been destroyed, Blake pulls +them forward the only way they can go. + + BLAKE + We need to keep moving. Come on! + + SCHOFIELD + I can’t see - I can’t see! + +Blake stops suddenly. + + BLAKE + Stop! Stop! + +He has kicked a bucket that sits on the lip of a mineshaft. + +The bucket drops into the hole, pulleys spinning +ferociously. + + BLAKE + Stop. It’s a mineshaft. + +Blake looks for a way round it. It has been blown by the +Germans. + + BLAKE + We’ll have to jump. Come on! + +Blake jumps across it. Schofield is frozen. + + BLAKE + You’re going to have to jump! Just + jump. + + SCHOFIELD + I can’t- I can’t see! + +Blake wheels around and shines his light on Schofield. + +Schofield’s eyes stream with tears and debris, he’s +paralyzed, blinded. + 37. + + + Between them is nothing but a gaping hole in the floor, + fathomless blackness. + + The walls around them groan under the strain. The place is + coming down. + + BLAKE + You need to trust me. Jump! + + Schofield tears in a breath then leaps forwards towards + Blake. + + Schofield takes off, jumps across the hole and lands hard. + + His back foot slips down the side of the mineshaft, but + Blake grabs him, and heaves him up. + + Blake pushes forward, Schofield clings to him. + + BLAKE + Don’t let go of me! Don’t let go! + + The sound of earth collapsing suddenly fills the tunnel. + The dugout behind them has collapsed in. + + Ahead there is a fork in the tunnel. Blake spots something + to his right - a blue haze. + + Daylight. + + He pulls Schofield towards it. + + BLAKE + Light! There’s light! + + They scramble forwards. Light begins to flood the passage + way. They reach the end of the tunnel and stumble out into + the light. + + +14 EXT. REAR GERMAN TRENCHES - CONTINUOUS 14 + + Blake scrambles down a small incline, scanning for enemy. + + They are in a large sunken ditch. + + Schofield stands, bent double, at the mouth of the tunnel, + trying to catch his breath. Both of them are covered with + chalk dust. They look like pale ghosts. + + SCHOFIELD + 38. + + + Stop... stop. Just...just let me + stand. + + BLAKE + Dirty bastards. + +Schofield gathers himself and drops down beside Blake. + +Blake pushes on, climbing up a small rise, rifle ready. + +Schofield goes after him, shakily. + + BLAKE + Careful, they may have left other + traps. + +Blake crests the small berm and looks. + +Curving away from him - a quarry. A huge desolate +amphitheatre. + +The quarry is several storeys high. Holes and entrances are +carved all over it, like rabbit warrens. + +Scattered around is the detritus of war. Several huge +German guns and some small artillery lie damaged and +abandoned. + +Small mountains of brass - thousands of spent shell +casings. + + BLAKE + Jesus. + +Blake sweeps his rifle around, searching for any threat. +This place is abandoned. + +Schofield makes it to the top of the berm, and drops down +to the ground, trying to clean out his eyes. + + SCHOFIELD + Dust... so much dust in my eyes. + +He empties the remaining water from his canteen onto his +face. + +Blake approaches Schofield, hands him his canteen. +Schofield washes the chalk off of his face. + + BLAKE + Here. Have some of mine. + 39. + + +Blake crouches beside him. He watches him, concerned. + + BLAKE + I wish I’d shot that rat now. + +Schofield turns on him, sharp. + + SCHOFIELD + And I wish you’d picked some other + bloody idiot. + + BLAKE + What? + + SCHOFIELD + Why in God’s name did you have to + choose me? + +Schofield checks his pockets - takes out small tobacco tin. + +Checks inside it. His hands are shaking badly. + + BLAKE + I didn’t know what I was picking + you for. + + SCHOFIELD + No, you didn’t. You never know. + That’s your problem. + +Blake is stung. + + BLAKE + Alright then, go back. Nothing’s + stopping you. You can go all the + way bloody home if you want. + +At the mention of home Schofield turns on him sharply. + + SCHOFIELD + Don’t. + +A beat. Schofield puts the tobacco tin back in his pocket. + + BLAKE + (calmer now) + Look, I didn’t know what I was + picking you for. I thought they + were going to send us back up the + line, or for food, or something. I + thought it was going to be + something easy, alright? I never + thought it would be this. + 40. + + +A beat. + + BLAKE + So do you want to go back? + +Schofield looks at him, softening. + + SCHOFIELD + Just fire the fucking flare. + +He loads and lifts the flare, and looks back towards the +British lines. + + BLAKE + (under his breath) + Up yours, Lieutenant... + +He fires it straight up. The light streaks through the sky. + +He watches it drop. + +Blake tosses the flare gun, lowers his hand to Schofield +and helps him up. + +Schofield stands unsteadily. Blake studies his compass, +getting his bearing. + + SCHOFIELD + Do you know where we are? + + BLAKE + Ecoust is directly south east. If + we keep that bearing, we should + make it. + +He looks in the direction Blake is facing - the land rolls +gently down, a trampled road leads out of the quarry, a +shattered copse of trees juts out of the earth. Charred and +black. + +Schofield nods. Blake stows the compass. Raises his rifle. + + BLAKE + Come on then. + +They begin to walk. + +Blankets, ammunition, guns, bayonets, shells. All have been +abandoned in this place. They pass the remains of artillery +- the gun barrels have been blown out. + + BLAKE + 41. + + + Look at that. They destroyed their + own guns... + + SCHOFIELD + They destroyed their own trenches + too. + + BLAKE + What do you mean? + + SCHOFIELD + I think they wanted us to go that + way. They wanted to bury us. + +They walk. + +A noise startles them both. They turn to the source, ready +to fire - + +A large rat scuttles over A DEAD GERMAN. Blake kicks a rock +at it. It scatters. + + BLAKE + Bastard rats. + +Blake looks across at Schofield. He is still shaking +slightly. + +They walk, watchful. Eventually: + + BLAKE + Hey - did you hear that story about + Wilko? How he lost his ear? + + SCHOFIELD + I’m not in the mood. Keep your eyes + on the trees, top of the ridge. + +Blake watches the top of the slope. They walk. + + BLAKE + Bet he told you it was shrapnel. + +Beat. + + SCHOFIELD + What was it then? + + BLAKE + 42. + + + Well, you know his girl’s a + hairdresser, right? And he was + moaning about the lack of bathing + facilities when he wrote to her - + remember those rancid jakes at + Arras? + + Schofield nods - they were disgusting. + + BLAKE + Anyway, she sends him over this + ‘hair oil’. Smells sweet, like + Golden Syrup. Wilko loves the + smell, but he doesn’t want to cart + it around in his pack, so- + + They continue into the- + + +15 EXT. SHATTERED COPSE - CONTINUOUS 15 + + They tread carefully over the battered earth. It’s littered + with casings and flecks of metal. + + BLAKE + He slathers it all over his barnet, + goes to sleep and in the middle of + the night he wakes up, and a rat is + sitting on his shoulder licking the + oil off of his head! + + Schofield begins to laugh, despite himself. + + BLAKE + Wilko panics and he jumps up and + when he does - the rat bites clean + through his fucking ear and runs + off with it! + + They are both laughing quietly. + + BLAKE + Oh, he made a hell of a fuss, + yelling, screaming. + + The ground sweeps gently downward out of the burnt copse. + + Living things return to the world in small patches. + + BLAKE + 43. + + + Best of it was he put so much + bloody oil on himself that he + couldn’t wash it off! He was like a + magnet. Rats left us alone, but + they couldn’t get enough of him. + Poor bastard. + +They emerge from the copse, scanning the surroundings. They +appear to be alone. + +Above, far in the distance, the same two British planes +seem to hover in the sky, arcing back towards British +lines. + +Schofield looks up at them. + + SCHOFIELD + Heading back home. + (beat) + I wonder what they saw... + +Schofield pulls his eyes away from the planes. The two men +briefly scan the land around them. + + BLAKE + Watch the ridge lines. + +They move off again. Blake’s eyes stick to the left, +Schofield’s scan the right. After a beat. + + SCHOFIELD + Well that’s your medal sorted then. + + BLAKE + What do you mean? + +They continue walking. + + SCHOFIELD + “Lance Corporal Blake showed + unusual valour in rescuing a + comrade from certain death” blah, + blah, blah. + + BLAKE + You reckon? + + SCHOFIELD + I do. + +Blake is pleased. + + BLAKE + 44. + + + Well, that’d be nice. Since you + lost yours. + +A beat. + + SCHOFIELD + I didn’t lose mine. + +Schofield keeps walking. + + BLAKE + What happened to it, then? + + SCHOFIELD + Why do you care? + + BLAKE + Why do you not? + +Beat. + + SCHOFIELD + I swapped it with a French captain. + + BLAKE + Swapped it? For what? + + SCHOFIELD + Bottle of wine. + + BLAKE + What did you do that for? + + SCHOFIELD + I was thirsty. + + BLAKE + What a waste. + (beat) + You should have taken it home with + you, you should have given it to + your family. + +Schofield doesn’t respond. + + BLAKE + Men have died for that. + +No response. + + BLAKE + 45. + + + If I got a medal, I’d take it back + home, why didn’t you just take it + home- + + SCHOFIELD + Look it’s just a bit of bloody tin! + It doesn’t make you special, it + doesn’t make any difference to + anyone. + + BLAKE + Yes it does. + + Beat. + + BLAKE + And it’s not just a bit of tin. + (then) + It’s got a ribbon on it. + + Schofield laughs, exasperated. + + Then he turns to Blake, looks at him. + + SCHOFIELD + I hated going home. I hated it. + When I knew I couldn’t stay. When I + knew I had to leave them, and they + might never see me- + + He chokes up. Fights with himself for a moment. Then he + turns and walks ahead. + + Blake watches him, feeling guilty. Then he follows. + + Up ahead, Schofield is approaching the remains of a walled + orchard. He stops at the gate. + + +16 EXT. WALLED ORCHARD - CONTINUOUS 16 + + The near wall has partially collapsed in a mound of rubble. + + Beyond it cherry trees litter the ground. All have been cut + down, felled in the wanton destruction of the German + retreat. + + Pale blossoms swim all around, ruffled by the wind. + + Schofield looks at it all. + + SCHOFIELD + (to himself) + 46. + + + Jesus. They chopped them all down. + +Blake has followed him, a little guiltily. Wanting to +apologise, but unsure how. He takes in the orchard. + + BLAKE + Cherries. + +Blake looks at one of the trees. He reaches down, picks a +blossom, holds it up. + + BLAKE + Lamberts. + +They begin to walk through the felled trees. + + BLAKE + They might be Dukes, hard to tell + when they aren’t in fruit. + + SCHOFIELD + What’s the difference? + +Blake is a little wry, sensing Schofield softening. + + BLAKE + Well people think there’s one type, + but there’s lots of them - + Cuthberts, Queen Annes, + Montmorencys. Sweet ones, sour + ones... + + SCHOFIELD + Why on earth would you know this? + + BLAKE + Mum’s got an orchard, back home. + Only a few trees. This time of year + it looks like it’s been snowing, + blossom everywhere. And then in + May, we have to pick them. Me and + Joe. Takes the whole day. + +A pang of homesickness creeps into Blake as he and +Schofield clamber over a downed tree. They are now +alongside each other. + +Schofield registers this. + + SCHOFIELD + So, these ones all gonners? + + BLAKE + 47. + + + Oh no, they’ll grow again when the + stones rot. You’ll end up with more + trees than before. + +A large wall borders the lower end of the orchard, still +intact. Schofield arrives at the gate. + +Ahead of them, visible through the gate is a small valley. +In the valley lie the remains of a French farmhouse, +abandoned. + +It is utterly derelict now - the roof is just a skeleton of +beams. Next to it is a clapboard barn, ragged with shell +holes. + +Schofield and Blake peer through the gate at the small +collection of buildings below. Everything is still. + +Schofield looks anxiously at the farmhouse. + + BLAKE + It looks abandoned. + + SCHOFIELD + Let’s hope so. + + BLAKE + We have to make sure. + +Schofield leads the way, he moves through the gate +cautiously, rifle raised. Blake follows. + +They slip down the hill. They are in an old pigsty, +surrounded by a broken fence, which runs down to the murky +water of a pond. + +Carefully, as he walks, Schofield scans the buildings +ahead. + +The wind rustles the long grass. An ominous atmosphere +pervades this place. + +They approach the farmhouse. + + SCHOFIELD + (sotto) + I’ll take front, you take back. + +They split. Blake disappears round the back, Schofield +moves towards the front door. + +A DEAD DOG lies by the path. + 48. + + + Schofield looks at it for a beat. His hands tighten on his + rifle, as he braces himself for what might be inside. + + Schofield quickly walks up the small front path, through + the open door. + + +17 INT. FRENCH FARMHOUSE - HALLWAY - CONTINUOUS 17 + + He is still for a moment on the threshold, breath held, + listening for any sounds of life in the house. + + The silence burns. + + Schofield enters. The only sounds now are the floor boards + creaking under his boots. + + This place has been trashed by the soldiers who were here. + + Schofield turns right into - + + +18 INT. FRENCH FARMHOUSE - BEDROOM - CONTINUOUS 18 + + Schofield moves through the bedroom. Empty. He moves back + into- + + +19 INT. FRENCH FARMHOUSE - HALLWAY - CONTINUOUS 19 + + Schofield crosses the hallway. He spots Blake through the + window. + + BLAKE + Anything? + + SCHOFIELD + Nothing. + + Schofield moves forward towards the kitchen. Something + catches his eye. + + A child’s doll sits on the floor. Cigarette burns on its + eyes. + + Schofield looks at it for a beat. Then moves into the + kitchen. + + +20 INT. FRENCH FARMHOUSE - KITCHEN - CONTINUOUS 20 + + Low, dusty light streaks in from the smashed windows. + 49. + + + Schofield takes in the room. Blake enters through the back + door. + + BLAKE + Did you find any food? + + SCHOFIELD + No. + (beat) + I don’t like this place. + + He moves out through the back door- + + +21 EXT. REAR FRENCH FARMHOUSE - CONTINUOUS 21 + + Schofield moves across the barren yard to a dilapidated + barn. + + +22 INT. BARN - CONTINUOUS 22 + + Remnants and debris are scattered around. + + The low sounds of a cow echo from the fields beyond. + + Schofield looks - a single COW stands in the field. Two or + three other dead cows lie near it. + + Schofield turns, scanning the barn floor. He peers into a + milk urn, it’s empty. + + Close by there is a bucket, lid half on. + + He tips the lid off with his foot - + + Milk. + + He kneels and smells it, then lowers in a hand and lifts + some to his mouth. It’s been months since he tasted + anything as good. + + Behind him, Blake exits the farmhouse. + + BLAKE + Map says we get over that ridge and + it’s a straight shot to Ecoust. + + SCHOFIELD + Good. + 50. + + + He takes out his empty canteen and pours milk into it, + fills it to the brim. + + The huge door at back of the barn is open to the fields. + + The drone of plane engines through the doorway catches + Schofield’s attention. + + Schofield spots planes through the barn door. He moves + towards them to get a better look. Entranced. + + He moves outside to watch. + + +23 EXT. REAR FRENCH FARMHOUSE - CONTINUOUS 23 + + Schofield wanders out away from the barn. He looks up into + the grey sky. + + Three planes - a dogfight. Tiny at this distance, insect- + like. + + Schofield’s eyes follow them keenly: Two British fighters + against one German. + + The violence is so far removed from him that it looks + balletic. Beautiful even. He moves towards them to get a + better look. + + The planes twist and circle in the air, engines droning and + whining as the planes dip and rise. + + BLAKE (O.S.) + Is that our friends again? + + SCHOFIELD + Looks like it. Dogfight. + + BLAKE + Who’s winning? + + SCHOFIELD + Us, I think. Two on one. + + The two of them stand looking up at the majesty of it. + + Then, in the distance, the German plane begins to trail + black smoke. + + The hum of the German engine fails. The two British planes + follow it, hammering away on their guns until it is clear + that there is no hope for the German. + 51. + + + BLAKE + They got him... + + The German plane coasts silently towards the earth. + + Blake and Schofield watch as it gets closer and closer. + + Hypnotised. + + From the bend of wings you can tell the PILOT is trying to + glide. Trying and failing. + + The plane drops like a leaf, catching updrafts only to + suddenly dip again - aiming for the fields some distance + ahead of them. + + The plane dips. Wobbles. Fighting to stay up. It banks + left, and drops below the horizon. + + Schofield walks forwards to have a better look. Then + suddenly, the plane reappears over the horizon, flying very + low. It is heading straight at them. + + Schofield realises they are in the path of the plane. He + begins backing away, retreating towards the house. + + The plane is much closer now, behind them as they run. They + can’t make it back to the house. + + Schofield and Blake throw themselves down on the ground, + pressing themselves into the earth as the plane screams in + their direction, smashing into the barn directly behind + them. + + Black smoke pours from the plane and the shattered skeleton + of the barn. + + The fire is quick, licking along the old wood. + + +24 INT. BARN - CONTINUOUS 24 + + Smoke billows from the plane. Inside it someone is + screaming. + + Blake moves first, he runs into the barn, Schofield tailing + him. + + Tongues of fire whip out from the engine, the pilot is + inside. Burning. + 52. + + + Flames lick at his mangled legs and torso, his gloved hands + cover his face. + + Blake grabs at the man, the back of his hand touches the + yoke as he tries to free the pilot - he cries out as the + metal sears his skin. + + Schofield tears open the pilot’s strap and together they + wrench him free, dragging him from the remains of the + cockpit, and pulling his body through the smoke. + + The Pilot’s legs are on fire. + + PILOT + Meine beine! Meine beine! Hilf mir! + Hilf mir! + + PILOT + My legs! My legs! Help me! Help me! + + +25 EXT. REAR FRENCH FARMHOUSE - CONTINUOUS 25 + + Schofield and Blake drag the pilot by his shoulders - the + true extent of his injuries laid bare in the daylight. + + The flames have done bad damage. His trousers have been + partially burnt off, blood streaks down his legs. + + The Pilot’s blue eyes dart at them, in agony. He shivers + violently with shock, his lips form words, his voice is a + harsh whisper. + + (N.B. None of the German dialogue will be subtitled. We + should understand only what Blake and Schofield + understand.) + + PILOT + Lazarett, Kamerad. Bitte. Bitte. + Wasser. Water. + + PILOT + Military hospital, comrade. Please. + Please. Water. Water. + + They look down at the Pilot, shocked, unsure of what to do. + + Schofield turns to Blake. + + SCHOFIELD + (sotto to Blake) + We should put him out of his + misery. + 53. + + +Schofield and Blake share a look. + + BLAKE + No. Get him some water. He needs + water. + +Blake kneels beside the pilot, gently cradles his head on +his knees. The pilot struggles, terrified and in pain. + +Schofield moves to the water pump, his back to Blake and +the Pilot. + + BLAKE (O.S.) + It’s alright, you’re alright. Stay + still. Stay still... + + PILOT + Bitte töte mich nicht. Ich möchte + leben. + + PILOT + Please help me, I don’t want to + die. + +Schofield works the pump, the levers screeching as the +mechanism creaks back to life. + +Creak- creak- + +Orange water cascades out, slapping into the metal trough. + +Schofield keeps cranking the squeaking handle, it almost +drowns out the voices behind him. + +Creak- creak- + +Schofield collects the water in his helmet. + +Creak- creak- + +Then suddenly - shouting. + +From behind him, piercing through the other sounds. + + BLAKE + Stop...Stop! + +Schofield turns, starts forward. + +Blake screams in agony. Schofield moves towards him, +confusion on his face, until he sees- + 54. + + +A bloody knife in the pilot’s hand, pulled out of Blake’s +abdomen. + + SCHOFIELD + No, no, no! + +Schofield grabs his rifle- + +He fires two shots into the pilot, killing him outright. + +Blake is looking down at his own bloody hands. + + BLAKE + Bastard, bloody bastard. + +Blake gets to his feet, breathing heavy. Clutching his +abdomen, he staggers away from the pilot’s body. + + BLAKE + Oh, God no. Oh, God no. + +Schofield watches him, scared. + +Blake goes for his dressings, he clumsily pulls them out of +his pocket, they unspool in his shaking hands. + +Blood is seeping through Blake’s tunic. He drops to his +knees. He looks down at his own blood and sobs. + + BLAKE + Jesus. Jesus, no. + +Schofield moves forward, grabs the dressing, just as Blake +drops down to the ground. + + SCHOFIELD + We have to stop the bleeding. + +Schofield wads the dressing, he moves Blake’s hand and +pushes the white bandage hard against Blake’s tunic, trying +to stem the blood. + +Blake shouts in pain. + + BLAKE + Stop it. Stop it! + +Schofield tries to calm him. + + SCHOFIELD + It’s alright, it’s going to be + alright. We’re going to stand up. + 55. + + +Schofield wraps his hands around Blake’s webbing. + + BLAKE + Yes. Yes. + +Blake sets his feet. Schofield wrenches him up. Blake +screams in agony. + + BLAKE + No! I can’t. I can’t. + +They drop back down. + +Blake is pale, blood is pumping out of him, his lips are +already grey. + + SCHOFIELD + We have to get to an Aid Post. + + BLAKE + I can’t. + + SCHOFIELD + I’ll carry you. It isn’t very far. + + BLAKE + Just bring a doctor here. + +Schofield looks around for help, there isn’t any. They are +alone. + + SCHOFIELD + We can’t, we have to go together- + +Schofield looks at Blake, desperation in his eyes. + + SCHOFIELD + We’re going to get up. We’re going + to get up. + +Schofield moves behind Blake, grabs him under his arms. He +lifts Blake, but Blake cannot support his own weight, his +legs buckle. + + BLAKE + Stop, please! Stop! + +Schofield holds him up. Begins to drag him. + +Schofield keeps trying to drag Blake. The more Blake +struggles the more blood pisses out of his wound. + 56. + + +Blake is suddenly wild, he screams like an animal, flailing +savagely, clawing at Schofield’s chest and neck, spitting +blood, struggling against him. + + BLAKE + Put me down! Put me down, you + bastard, please! Put me down! + +They fall backwards. + +Schofield moves to face Blake. + +Blake’s whole face is colourless now. + +Schofield looks down. His eyes land on Blake’s dressing. It +is scarlet now, sopping wet with blood. He swaps it for a +fresh dressing. Panic swarms him. + + SCHOFIELD + You have to try to keep moving. + +Blake is weakening. + + BLAKE + Let’s just sit... let me sit. + + SCHOFIELD + We can’t. We have to find the 2nd. + Remember? Your brother. We have to + go now... + +Schofield stares down at Blake, he’s not lucid anymore. His +eyes are already glazing. + + BLAKE + You can start on without me. I’ll + catch up. + + SCHOFIELD + You can’t stay here. We have to + move, alright? We have to move. + +A beat. + + SCHOFIELD + Come on. Come on. That’s it. Come + on, come on... + +Schofield wraps one arm around Blake’s back, the other +round his legs, he gets to his feet and with all his might +he heaves Blake upward. Blake howls in pain. + +Schofield screams with the effort, giving it all he’s got. + 57. + + +But Blake is a dead weight. He can’t lift him. + +They drop. Schofield looks at him, desperate. + + SCHOFIELD + Your brother. We have to find your + brother. + +Blake’s breathing is coming in short bursts. + + BLAKE + You’ll recognise him. Looks like + me...a bit older. + +Schofield holds Blake’s head up. He looks impotently around +for help. + +Behind them the barn is crumbling in on itself, scarlet +embers drift across the sky, carried on the breeze. Blake +stares up at them, confused. + + BLAKE + What are they? Are we being + shelled? + + SCHOFIELD + They’re embers, the barn is on + fire. + +Blake looks bewildered. Then some pain creeps into his +eyes, some awful knowledge. + + BLAKE + I’ve been hit... What was it? + +Schofield looks down at him, unsure how to answer. + + SCHOFIELD + You were stabbed. + +Blake looks surprised. His hand feels dumbly for his wound. + +It lands on Schofield’s - he’s holding down the tunic, +stemming what blood he can. + +There is blood on Blake’s lips. His breathing is becoming +laboured. + + BLAKE + Am I dying? + +A beat. + 58. + + + SCHOFIELD + Yes, I think you are. + +An “Oh” forms on Blake’s lips. Profound sadness follows the +shock. + +Blake reaches up slowly, and taps his tunic pocket, +Schofield guesses his meaning - goes to the pocket, pulls +out a wallet. + + SCHOFIELD + This? + + BLAKE + Inside... + +Schofield opens the cover, inside are a bunch of letters, +and a photograph - Blake, his mother, and his brother Joe. + +Schofield holds it up for Blake to see: yes, that’s what I +want. + +Schofield puts the photograph in Blake’s hand, he presses +it to his breast. + + BLAKE + Will you write to my mum for me? + + SCHOFIELD + I will. + + BLAKE + Tell her I wasn’t scared. + +Schofield nods. + +A long beat. Schofield lets go of the pressure on Blake’s +wound. He holds his hand. + + SCHOFIELD + Anything else? + +Blake is slipping away, tears well and roll down his +cheeks. + + BLAKE + I love them...I wish that... I + wish... + +It’s half strangled by sadness. A long beat. Schofield +holds him. Death is close, stiffening Blake’s body, it’s +already in his eyes. + 59. + + + BLAKE + Talk to me. + +Schofield looks at Blake, he has no idea what to say. + + BLAKE + Tell me you know the way. + + SCHOFIELD + I know the way. I’m going to head + south east until I hit Ecoust. + +Blake listens. + + SCHOFIELD + I’ll pass through the town and out + to the east, all the way to + Croisilles Wood. + + BLAKE + (faint) + It’ll be dark by then. + + SCHOFIELD + That won’t bother me... I’ll find + the 2nd, I’ll give them the + message, and then I’ll find your + brother. Just like you, a little + older... + +He stops. Blake is no longer breathing. + +Without the lines of worry or agony on his face Blake looks +very young. + +Schofield is still for a moment, cradling the head of +Blake. + +A long beat. Behind Schofield the barn is collapsing in on +itself. + +The smoke has risen several stories into the sky. + +Schofield looks at Blake. Desperate. + +Then, he snaps out of it. With sudden determination, he +rummages through the pockets of Blake’s tunic - takes the +message for the 2nd, blood from his hands smudges on the +envelope. + +He stows it safely in his top pocket. He pulls out the map +from Blake’s tunic. It is saturated in blood. Illegible. + 60. + + +Schofield throws it away. + +He takes Blake’s rings from his lifeless hands, then opens +his tunic and goes for Blake’s identity disc, tearing it +off of the twine. + +He pries the photograph from Blake’s dead hand, looks at +it, then leaves it face down over his heart, inside his +tunic. + +Schofield looks around them, beside the pond is a patch of +long grass. + +Schofield heaves Blake’s torso up - the endeavour entirely +different now Blake is dead. + +Nothing is heavier than the dead body of someone you loved. + + PRIVATE PARRY (O.S.) + You alright, mate? + +Schofield looks up, shocked to see TWO BRITISH PRIVATES - +PARRY and ATKINS. + + PRIVATE ATKINS + It’s alright, it’s okay. + + PRIVATE PARRY + Come on, help him. + +Parry and Atkins move forward and take Blake’s legs. +Together the three of them move Blake to the long grass. As +they move him: + + PRIVATE ATKINS + Jesus, what happened to him? + +Schofield doesn’t answer. + + PRIVATE PARRY + Was it the plane? We saw the smoke. + +Schofield nods. + + SCHOFIELD + (sotto) + Yes. + +They lower Blake down. Schofield kneels by his head. Lost. + +A gentle voice, off camera. + 61. + + + CAPTAIN SMITH (O.S.) + Go fetch his things. + + PRIVATE PARRY + Sir. + + PRIVATE ATKINS + Yes, Sir. + +Parry and Atkins go to collect Schofield’s helmet and +rifle. + + CAPTAIN SMITH + (quietly) + A friend? + +Schofield nods. He kneels beside Blake’s body. Impotent. + +A beat. + + CAPTAIN SMITH + What are you doing here? + + SCHOFIELD + I have an urgent message for the + 2nd Devons. Orders to stop tomorrow + morning’s attack. + + CAPTAIN SMITH + Where are they stationed? + + SCHOFIELD + Just beyond Ecoust. + + CAPTAIN SMITH + Come with me. + +Smith heads back towards the farmhouse. Schofield doesn’t +move. He can’t look away from Blake. + +Smith stops, turns back. + + CAPTAIN SMITH + Come with me, Corporal. That’s an + order. + +Schofield looks up at him. + + CAPTAIN SMITH + We’re passing through Ecoust. We + can take you some of the way. + 62. + + + SCHOFIELD + Sir. + + Using the grass, he wipes Blake’s blood from off his hands. + + He stands, drags his eyes away from Blake’s body and then + moves after Smith. + + He collects his rifle and helmet from Parry then follows + Smith through the farmhouse and back out into- + + +26 EXT. COUNTRY ROAD - CONTINUOUS 26 + + A small convoy of four trucks idle on the road, all caked + in mud and battered from their journey. Soldiers mill, + smoking, pissing, stretching their legs. + + At the head of the small convoy is an Officer’s car. + Exhaust fumes swirl in the still air. + + COLONEL COLLINS (O.S.) + Oh, come on Sergeant. Put more men + at the base. At the trunk! It’ll be + heavier there... + + The trucks are filled to the brim with SOLDIERS - a mixture + of seasoned fighters and fresh recruits. All are covered in + the mud of No Man’s Land. + + CAPTAIN SMITH + Might be a tight squeeze. + + They move towards the Officer’s car. Mud hardens on the + undercarriage and the wheel arches. + + COLONEL COLLINS + No. You’re not going to be able to + just lift it. Pivot the front end + to the left- + + At the front of the convoy a large tree trunk blocks the + road, like the cherry blossoms, felled on purpose, trunk + neatly chopped. Several PRIVATES and an NCO are gathered + around trying to lift it. + + A Colonel, COLLINS (corpulent, sweating) barks orders from + the front seat of the car. + + Smith and Schofield approach the car. + + COLONEL COLLINS + (to the driver) + 63. + + + Jesus. They don’t make things easy + do they. They could at least have + retreated with a bit of grace. + Bastards. + + CAPTAIN SMITH + Sir- + +Collins turns and looks down on Smith and Schofield, his +face registering confusion. + + COLONEL COLLINS + (registering Schofield) + You’re not one of mine. + + SCHOFIELD + No, Sir. + +Collins looks at Smith for explanation. + + CAPTAIN SMITH + He’s got an urgent message to + deliver to the 2nd Devons, Sir. + +Collins’ attention is drawn back to the tree, the men have +managed to shift it a few feet to the left. + + COLONEL COLLINS + (To the driver) + Can you get past it? + + SERGEANT HARROP (O.S.) + No, Sir. + + COLONEL COLLINS + Oh, for God’s sake. + (Loudly, to the men) + Just move it! + + CAPTAIN SMITH + There’s room in the casuals truck, + sir. He has orders- + + COLONEL COLLINS + Yes, yes, alright. + (to Harrop) + Come on now. You can get through + there sideways. + +The car begins to roll forward. + +Smith moves off, as the Colonel’s car begins to manoeuvre +its way around the felled tree. + 64. + + +Smith and Schofield walk past the row of trucks, all packed +with soldiers. Schofield takes it in. + + SCHOFIELD + How did you get here, Sir? + + CAPTAIN SMITH + Crossed No Man’s Land just outside + Bapaume. Took us the whole night. + Bumped into a couple of Hun + stragglers on the way who made a + nuisance of themselves. + + SCHOFIELD + You going up to the new line? + + CAPTAIN SMITH + Attempting to. The Newfoundlands + have pushed forwards and requested + reinforcements. + +They approach the last truck. Smith looks at him. + + CAPTAIN SMITH + I’m sorry about your friend. + +Schofield nods. + + CAPTAIN SMITH + May I tell you something that you + probably already know? + +They stop. Schofield looks to him. + + CAPTAIN SMITH + It doesn’t do to dwell on it. + + SCHOFIELD + No, Sir. + +They have reached the rear of the fourth and final truck. +TWO or THREE PRIVATES mill by the rear step, smoking. They +stand to attention when the see the Captain. + + CAPTAIN SMITH + (to Schofield) + Hop on. + +Smith speaks to the soldiers. + + CAPTAIN SMITH + Make some space there... Come on, + in you get! + 65. + + + A bit of grumbling as the soldiers try to make space for + him. + + A couple of the men help him up and into- + + +27 INT. ARMY TRUCK - CONTINUOUS 27 + + Twenty men, an amalgamation of companies - some SCOTS, some + SIKHS, are crammed in here. Schofield makes space for + himself on the fringe. The men don’t look at Schofield, + don’t much care about the hitch-hiker. + + They are quiet for a beat, until Smith’s footsteps die away + and the sound of the engine rumbles. + + Schofield sits silently. + + PRIVATE COOKE + Alright. Here we go again boys. + + PRIVATE ROSSI + Welcome aboard the night bus to + fuck-knows-where. + + PRIVATE COOKE + Is that a dead dog? + + No one answers him. + + Schofield looks out of the back, watching the road and the + farmhouse disappear behind him. + + PRIVATE BUTLER + (To Rossi) + You got a fag? + + Rossi hands one over. + + PRIVATE ROSSI + Yeah, there you go. + + They light their cigarettes. + + PRIVATE COOKE + (sotto) + Butler... Oy. Carry on with that + story. + + PRIVATE BUTLER + (sotto) + 66. + + + Oh yeah, Right. So. When we get off + the train, Beaufoy comes up to us + and he’s having a right go - + (He attempts a posh + accent, complete with + lisp) + “Lance Corporal! Whatever one does, + one never lets standards slip!” + Then Scott comes out of the + latrine, he wipes his hand on the + back of Beaufoy’s jacket! Shit all + down his back. + +Laughter. + + PRIVATE COOKE + Was that meant to be Captain + Beaufoy? + + PRIVATE BUTLER + Oh, piss off you. You can’t do any + better. + +Schofield pulls his bloody tunic tight around himself, +watches. He almost disappears into the noise of the men. + + PRIVATE COOKE + (Impersonating the lisp) + “MEN! Your rifle stocks are an + embarrassment to the entire + expeditionary force.” + + SEPOY JONDALAR + You’re both bloody awful. + + PRIVATE COOKE + You don’t know, you barely even + speak the bloody language. + + PRIVATE MALKY + He’s got a better grasp of it than + you, Cooke. + + PRIVATE COOKE + Go on then Jondalar, give it a go, + let’s see it! + +The men are getting rowdier. We watch Schofield as they +grate on his quiet grief. + + PRIVATE ROSSI + Let’s hear it then Jonny! + 67. + + +The men noisily encourage him. + + SEPOY JONDALAR + (Much the best + impersonation - perfect + lisp, gestures) + “Rossi! Never in my two hundred + years as a soldier have I seen such + a sorry excuse for a latrine pit-” + +The men are all laughing, enjoying it. + + PRIVATE COOKE + Shite. That is total shit! + +Cooke gets shouted down by the men. Someone chucks a +canteen at Cooke, misses. + + PRIVATE COOKE + Oy! You could have taken my teeth + out with that. + + PRIVATE ROSSI + You could do with a new set. + +Schofield is still. The laughter settles. + +After a beat Schofield checks his wristwatch. BUTLER sees +it. + + PRIVATE BUTLER + You got somewhere you need to be? + +The men all look at him. + +Suddenly, the truck lurches violently. Schofield bumps into +a man near him. The engine groans under them. The sounds of +tyres spinning. + + PRIVATE ROSSI + Oh, no... + +A spatter of mud is thrown up. The engine revs, but the +truck sinks deeper. + +Schofield stands, leans out of the canvas. + + PRIVATE COOKE + Arsehole needs driving lessons. + +A few men groan in agreement. + 68. + + + Schofield jumps out into- + + +28 EXT. ROADSIDE DITCH - CONTINUOUS 28 + + Schofield looks at the stuck wheel. The truck has driven + off the road trying to get round another fallen tree. Its + rear wheel is sinking into a muddy ditch. + + Ahead, the convoy is stopped, waiting on them. + + Schofield speaks to one of the Privates, Cooke, as he + stares at the wheel. + + SCHOFIELD + He should reverse. + + PRIVATE COOKE + Yeah. + + Cooke does nothing. Schofield moves to the Driver’s side of + the truck. + + SCHOFIELD + (Loudly, to the driver) + Try it in reverse. REVERSE. + + A crunch of gears as the driver puts it in reverse. The + engine revs again. Schofield bends down to look. The wheel + is still spinning. The truck is slipping deeper. + + SCHOFIELD + No. Stop. STOP! + + After a beat the sound of revving dies out and the engine + idles. + + SCHOFIELD + Everyone needs to get out. + + Some of the men climb to their feet and drop out. Others + don’t move. + + SCHOFIELD + All out! + + The men aren’t moving fast enough. + + SCHOFIELD + Come on! + + PRIVATE BUTLER + 69. + + + Alright, alright. Keep your bloody + hair on. + +Begrudgingly a few fall in behind and beside the truck and +ready themselves. + + SCHOFIELD + Right. One. Two. Three. + +The tyre spins on the spot, mud flies up. Schofield and the +men push. Heaving together- + +The truck isn’t moving. + +But Schofield won’t stop, he pushes and pushes, groaning +under the effort. Desperation etched all over his face. + + PRIVATE COOKE + We need to get some wood, put it + under the wheels. + +The other men drop back away from the truck frame. + +Schofield doesn’t. + + SCHOFIELD + No! We haven’t got the time! + +He puts everything he has into shifting the truck. + + SCHOFIELD + We all need to push! + +His whole body shakes with the effort. + + SCHOFIELD + Come on! COME ON! + +He begins to yell. Pushing, screaming in desperation. + + SCHOFIELD + COME OOOON!! + +The men look at him. + + SCHOFIELD + Please. I have to go now! Please. + +The men see Schofield’s desperation. Recognise it. + +They fall back in beside him. + 70. + + + PRIVATE BUTLER + Alight, come on lads! Come on. + +Together the twenty of them push, all at once, all +stretched to the very limits of their strength. + + PRIVATE ROSSI + Come on, boys! + + SCHOFIELD + One. Two. Three! + +Schofield screams in desperation. + + SCHOFIELD + AAAAAAAHHHHH! + + PRIVATE ROSSI + Come on boys! One last push! Yes! + One. Two. Three! + +Suddenly, the truck moves, the wheel catches some grass and +WHOMPH- + +It lurches forwards, out of the ditch. Schofield falls +forward into the mud. + +He struggles to his knees, trying to get his emotions back +under control, struggling not to cry. + +Jondalar lifts him to his feet. + + SCHOFIELD + Back in. Get back in. Go. + +The other men are looking at him, they see his emotion. +They start to load back in. + +Jondalar puts his hand on Schofield’s arm. A fleeting +moment of solace. + + SEPOY JONDALAR + Are you alright? + +Schofield nods. + +TWO SOLDIERS stand on the rear step, helping to pull the +others up and in. As they do- + + PRIVATE COOKE(O.S.) + 71. + + + Here, Driver, how about you try to + keep it on the bloody road for a + change! + + DRIVER (O.S.) + Oh, piss off. + + The men are almost all loaded in. Schofield brings up the + rear. + + +29 INT. ARMY TRUCK - CONTINUOUS 29 + + Schofield takes the arm of the soldier helping men up and + is pulled inside. + + The convoy moves off. Rattling over the land. + + Around Schofield the men are quiet, their eyes on him. + + After a while- + + SEPOY JONDALAR + So, where are you going? + + SCHOFIELD + I have to get to the 2nd Devons. + Just past Ecoust. + + SEPOY JONDALAR + Why? + + SCHOFIELD + They’re attacking at dawn. I have + orders to stop them. + + PRIVATE MALKY + How come? + + SCHOFIELD + They’re walking into a trap. + + PRIVATE COOKE + How many? + + SCHOFIELD + Sixteen hundred. + + This stops them all. + + PRIVATE COOKE + Jesus. + 72. + + + PRIVATE BUTLER + Why did they send you on your own? + + SCHOFIELD + They didn’t. There were two of us. + +A beat. The men understand what this means. + + PRIVATE ROSSI + So now it’s down to you. + + SCHOFIELD + Yes. + + PRIVATE COOKE + You’ll never make it. + +Beat. Schofield turns to Cooke. Looks at him. + + SCHOFIELD + Yes. I will. + +Butler offers Schofield some of his whisky. He takes a +drink. + + SCHOFIELD + Thank you. + +Now all the men are looking out the back, watching the +distance drop away. + +The truck is sweeping past a small hamlet, or at least the +remains of one, houses have been reduced to skeletons, the +destruction is fresh, embers still smoulder. Anything of +value built on this land has been systematically destroyed. + +Dead cattle lie in the fields. + + PRIVATE ROSSI + Look at it. Fucking look at it... + Three years fighting over this. We + should have just let the bastards + keep it. I mean, who machine guns + cows? + + PRIVATE MALKY + Huns with extra bullets. + + PRIVATE ROSSI + Bastards. + +While they talk, Schofield checks that the letter is still +in his pocket. + 73. + + +He carefully puts it in his tobacco tin. + + SEPOY JONDALAR + Clever. They know if they don’t + shoot the cow, you will eat it. + +Rossi nods: fair point. + + PRIVATE ROSSI + Still bastards. + + PRIVATE MALKY + Yeah, it’s not even our bloody + country. + +Brakes creak as the truck slows a little. Schofield reacts. + + PRIVATE BUTLER + How long gone d’you reckon they + are? + + SEPOY JONDALAR + Why? Worried we’ll catch up with + them? + + PRIVATE BUTLER + Yeah, right. Be a bloody miracle at + this rate. + + PRIVATE COOKE + They are probably right around the + next corner. + + PRIVATE ROSSI + Piss off, no they’re not. + + PRIVATE COOKE + Why don’t they just bloody well + give up? Eh? Don’t they want to go + home? + + PRIVATE ROSSI + They hate their wives and + mothers... and Germany must be a + shit hole. + + PRIVATE COOKE + They’re retreating... they’re miles + back. We’ve got them on the ropes + at least. + + SEPOY JONDALAR + No. We don’t. + 74. + + + The truck slows down. It is juddering, as if navigating + cobbles. + + Schofield’s eyes dart to the back, worried. + + Suddenly the truck grinds to a halt. A few ready themselves + to jump out. + + PRIVATE BUTLER + Oh, bollocks. What’s up now? + + PRIVATE COOKE + Not another bloody tree. + + The driver calls through the canvas. + + DRIVER (O.S.) + Bridge is down. + + PRIVATE COOKE + (sarcastic - sotto) + Oh. That’s a shame. + + Schofield looks out the back of the truck. + + SCHOFIELD + Looks like I’ll be getting out + here. Good luck. + + PRIVATE ROSSI + Keep some of that luck for yourself + pal. Think you’ll be needing it. + + PRIVATE BUTLER + Good luck, mate. + + PRIVATE MALKY + Good luck. + + Drops out onto- + + +30 EXT. CANAL SIDE - CONTINUOUS 30 + + Schofield jumps down into a new landscape. + + The land is sliced through by a huge, straight, industrial + canal. The sun is now below the horizon. + + The men from the truck watch him go. + + PRIVATE COOKE + 75. + + + Don’t balls it up. + + SEPOY JONDALAR + I hope you get there. + + SCHOFIELD + Thank you. + +Captain Smith approaches. + + CAPTAIN SMITH + Next bridge is six miles. We’ll + have to divert. + + SCHOFIELD + I can’t, Sir. I don’t have the + time. + + CAPTAIN SMITH + Of course. + +Smith offers Schofield his hand. He takes it. + + CAPTAIN SMITH + Best of luck. + + SCHOFIELD + Thank you, Sir. + +Smith goes to leave, stops. + + CAPTAIN SMITH + Corporal. If you do manage to get + to Colonel Mackenzie, make sure + there are witnesses. + +Beat. + + SCHOFIELD + They are direct orders, Sir. + + CAPTAIN SMITH + I know. But some men just want the + fight. + + SCHOFIELD + Thank you, Sir. + +Captain Smith calls out to the driver at the head of the +convoy. + + CAPTAIN SMITH + 76. + + + Driver! Move off! + +Schofield watches as the small convoy drives away. Fumes +swirl in its wake. + +He turns his attention to the new obstacle - the remains of +a bridge, shattered and half blown - now little more than +twisted metal dropping into the water. + +The town of Ecoust is a jagged silhouette, visible about +two hundred yards the other side of the canal. Smoke +drifts. The town is still on fire. + +The canal is large and industrial - about 90 feet wide, +stone sides, once deep, wood and detritus float on the +surface of the water. + +On the opposite bank are the remains of a lock house. Two +storeys. Windows blown in, roof half collapsed. Beyond +that, the remains of some small buildings, all abandoned, +and then the jagged remains of Ecoust. + +Schofield surveys it. Looks around. All seems quiet. Eerie. + +Schofield looks around for a way across. The blown bridge +is his best bet. Both sides of the metal bridge have +collapsed, and slant down into the dark water. + +Schofield starts along the broken bridge, then climbs up +onto the slim metal balustrade and starts inching downwards +towards the waterline. It takes all his effort not to lose +his balance and fall into the water below. + +Finally he reaches the base of the slope, and looks across +at the remaining half of the bridge. About eight feet of +water between him and the other side... + +He prepares himself to jump across and- + +CRACK- + +A gunshot slaps the water just in front of him. Birds fly +up. + +Instinctively, he leaps- + +He lands heavily on the other side of the bridge. His foot +slips into the water, and he hauls himself up with his +hands. + +He clings to the metal latticework, scrambling forward. + +CRACK- another shot rings out, hitting the water behind. + 77. + + + CRACK- a bullet hits the metal near his hand. He quickly + climbs across the torn carcass of the bridge towards the + far bank. + + Another bullet rings out, as he drops down, throwing + himself into- + + +31 EXT. CANAL - CONTINUOUS 31 + + The cover of the far bank wall. He rips in breaths as he + presses his body into the stone bank. He stays low, inching + along the side until he can get a sense of where the shots + are coming from. + + He looks. Now he can register the direction of the shots. A + SHOOTER, in the lock house. On the upper floor. A single + high window. + + Schofield slides along the bank until he hits a small + stairwell set into the wall of the canal bank. Barely + enough cover, but his only option. + + CRACK. Another bullet sings against the stone as he darts + to the other side of the stairs. + + Schofield readies his rifle, his hands are ice, and + injured, and slow to work. They shake violently as he tries + to check and load the weapon. + + Panting, he tries to still his trembling body as he creeps + up to the top of the stairs, he peers over the top step to + line up his shot. + + CRACK- a bullet sings off the stone next to his head. + + He sucks in a deep breath and holds it. He exhales as he + leans into the shadow of the wall, and readies his rifle... + + Schofield lifts his body above the wall, and fires once. + + CRACK. + + Quickly, the shooter fires back. + + Schofield aims again, CRACK. + + The shooting stops. + + Silence. + 78. + + + Schofield is still for a moment. Breathing heavy. Shaking + from the cold and from adrenalin. + + He spins and fires another two shots through the window of + the lock house. + + CRACK. CRACK. Wood splinters. He waits. + + Again, silence. + + He steadies himself and stands carefully, rifle ready, and + quickly advances to the lock house. He pushes open the + doors and moves inside. + + +32 INT. LOCK HOUSE - CONTINUOUS 32 + + No movement on the ground floor. + + The staircase is ahead of him. His ears burn listening for + any sounds, any hint of movement. + + He holds his breath, the wood creaks under him as he backs + against the wall, rifle pointing to the top of the + staircase. + + Staying low and against the wall he moves upwards. Parts of + the upstairs come into view - + + He can now see the door to the upper room. + + Slowly, he moves along the short corridor. With his foot, + Schofield pushes at the door. It swings open, agonisingly + slowly, creaking on its hinges. + + Revealing- + + A GERMAN SOLDIER, slumped against the far wall, wounded - + but with his gun raised. + + A split second to react, Schofield raises his rifle and + + BOOM-BOOM! + + Both guns go off at the same time. + + The German’s bullet hits Schofield on the helmet, ripping + his neck and upper body backwards, almost lifting him off + his feet. + + Schofield stumbles backwards and falls- + 79. + + + Down the stairs. + + BAM - he hits the stone at the foot of the stairs and... + + Black. + + +33 INT. LOCK HOUSE - NIGHT 33 + + Still black. + + In the darkness the sound of a single drip. + + Out of the darkness, Schofield’s face. + + The drip comes from a hole in the ceiling, and falls on + Schofield’s forehead. He opens his eyes. + + Schofield starts to move, gingerly. He lifts his hand with + difficulty, runs it along the back of his head. Looks at it + - slick with black blood. + + He sits up, begins to focus. His face and hair are wet. His + legs are sprawled on the stairs above him. He looks around + dumbly. Unsure of what is up and what is down. + + He looks at his watch - smashed in the fall. No idea what + time it is. + + Panic begins to claw at him. He has somewhere to be. If + only he could remember it. + + He looks around for his rifle. He spots it above him, at + the top of the stairs. He crawls towards it. + + Reaches it. + + Suddenly, the room fills with light. Outside, a flare + streaks across the sky. As the light swings across the + room, Schofield now sees the German soldier lying dead, + slumped against the wall. + + Schofield stands and gradually descends the staircase. + + +34 EXT. ECOUST - CANAL SIDE - CONTINUOUS 34 + + Darkness. + + Then, another flare hisses across the black sky, light + bursts from it. + 80. + + +It falls slowly to earth, the magnesium light blinding. + +As the light falls the whole world undulates before him. +Not clear to him if he is awake or dreaming. + +The falling flare is playing with reality; shapes and +shadows warp across the land. + +There has been a rainstorm. The outlines of destroyed +buildings contract and expands ahead of him. + +He begins to stagger forwards through Ecoust. Struggling to +pick his way through shifting spots of darkness, unable to +tell what is shadow and what is a ditch. The puddles +reflect the Verey light, glowing as it falls, stinging his +eyes. + +CRACK - A gunshot. Somewhere in the darkness there is +another sniper. + +A brief moment of confusion, as he looks around for the +source of the gunshot. + +CRACK. Another gunshot. Distant shouts. Schofield begins to +run. + +He runs at full pelt. As he does, the flare light dies. Now +he is careening through shapeless darkness. + +We are running blind, with Schofield. The sound of his +footfalls, his breathing. + +He crashes through a puddle, the noise draws shots. The +bullets buzz around him in the darkness. Then - + +HISS - another flare bursts above him. + +He flings himself down in the rubble. + +Shots clip the ground around him. Schofield lies +motionless, breathing heavily, trying to disappear into the +rubble around him, waiting for the light to die. + +He looks up, trying to memorize his next path as the light +moves the ground ahead of him. The light dies. + +Schofield is up and clattering in darkness across cobbles. + +Another flare goes up into the night sky, but this time +Schofield doesn’t stop. He keeps running. + 81. + + + It sweeps directly over him, he darts into the bombed out + remains of a shop. As the light from the flare dies above + him, he turns the corner into - + + +35 EXT. ALLEY WAY - ECOUST - CONTINUOUS 35 + + Narrow, dark. + + He starts to move along the alley. Feeling safe in the + blackness, heading towards the flickering light at the end + of the alley - + + +36 EXT. MAIN STREET - ECOUST - CONTINUOUS 36 + + Schofield looks both ways. A broad main market street + stretches away in both directions. + + All windows are smashed, buildings have been shelled and + collapsed in on themselves. Some have vanished altogether. + + Schofield cautiously peers out along the wide street. To + his left, at the far end of the street, is a Main Square, + framed by a colonnade. + + Beyond, just out of sight, something large is burning. + + Schofield checks both ways, then begins to walk down the + ruins of the empty street, towards the square. Wary. + + Large medieval colonnades flank the entrance to the square, + some have crumbled. Schofield slips through them and into - + + +37 EXT. ECOUST MAIN SQUARE - CONTINUOUS 37 + + Schofield stops under the columns. The destruction here is + staggering - + + Colonnades run around most of the square, massive sections + of it are pitted with gaps. Whole buildings are gone, like + missing teeth - blackness yawns in them. Entire storeys + have fallen away, revealing empty rooms. + + At the centre of the square, the remains of a fountain. + + In the far corner of the square the Church is on fire. The + firelight reflects off the wet cobblestones and puddles. + + Schofield stares at it. Awed. + 82. + + + Then he spots something- + + In front of the bright flames: A MAN’S SILHOUETTE. + + Schofield sees him. The Man stops, lowers his weapon. + Starts to walk towards him. + + Schofield cannot make out if he is a German or British + soldier and begins to move towards him. + + Suddenly the Man lifts his gun and starts to run, heading + straight towards Schofield. It’s A GERMAN SOLDIER. + + Schofield responds quickly. He takes off running, heading + through the colonnade. The Soldier raises hie rifles and + fires after him. + + Schofield doesn’t stop, heading out of the square and into + - + + +38 EXT. SIDE STREET - ECOUST - CONTINUOUS 38 + + He can hear the shouts of the Soldier coming after him. + + Schofield runs full tilt. He turns a corner. Ahead, to his + left, at about knee height, is a low cellar window. + + He heads towards it, grabs at it. It’s locked. + + He can hear the footsteps of the soldier getting closer. + + Beside the window is a coal chute. In a flash, Schofield is + on his hands and knees through the dark opening, scrambling + into - + + +39 INT. COAL CELLAR - CONTINUOUS 39 + + Pitch black while his eyes adjust. + + He clutches his rifle, steps back into the shadows. His + breath saws in and out, he listens to the slap of running + footsteps getting closer. + + Schofield slides down into the darkness as a pair of German + boots run by the low window. + + He stays crouched in the darkness for a time, listening to + the footsteps receding. His eyes finally leave the window + and look around him. + 83. + + +He is in a low-ceilinged coal cellar. Sections of the roof +above have collapsed, letting in drips of rain and some +faint light. The room is empty. Then something catches his +eye. + +At the far end of the room, a small doorway. Heavy fabric +has been hung across it. His eyes catch the flicker of +flame escaping through material. + +Schofield readies his rifle. He points it at the curtain, +ready to fire, gun cocked- + +Carefully he advances into the small room. Pushes the +fabric aside with his rifle. + +In the centre of the room a furnace, presumably used to +heat the house. A small makeshift fire has been lit in it. +Around the fire a couple of blankets, some firewood, empty +cans, crusts of stale bread. + +As Schofield’s eyes adjust to the light, he sees movement +in the shadows. Instinctively, he lifts his rifle. + +There is a woman crouched in the corner. LAURI, late teens, +frail and hollow-eyed. + +Her eyes fill with fear when she sees Schofield enter her +hiding place. She doesn’t move to flee - there is nowhere +to go. + + LAURI + (subtitles; pleading) + Il ny rien ici. Nous n'avons rien + pour vous. S'il vous plaît. + + LAURI + (subtitles) + There is nothing here. We have + nothing for you. Please. + +Schofield sets his rifle down, holds his hands up, as if to +say: I am not a threat. + + SCHOFIELD + Anglais. Not German. Friend... I’m + a friend. + +She calms a little. He looks around. + + SCHOFIELD + This place, this town. Ecoust? + C'est Ecoust? + 84. + + +Lauri nods. + + LAURI + (subtitles) + Oui. + +Schofield looks relieved. + +He suddenly begins to feel the pain in his head. He sways a +little. + + LAURI + (subtitles) + Ou sont les autres? + + LAURI + (subtitles) + Where are the others? + +She looks at him. + + SCHOFIELD + Others? No. Just me. + +She looks. He gestures. + + SCHOFIELD + Only. Me. + +She understands. A beat. + + SCHOFIELD + I need to be somewhere... I need to + find a wood to the South East? + +Lauri looks at him blankly. + + SCHOFIELD + Trees... les arbres? + +Schofield searches his woozy head. + + SCHOFIELD + Croiset? + + LAURI + Croisilles? + +Schofield nods. + + SCHOFIELD + Yes. + 85. + + +Lauri points out the direction. + + LAURI + (subtitles) + La rivière- + + LAURI + (subtitles) + The river- + + SCHOFIELD + River? + + LAURI + River. It go there. Trees. + Croisilles. + +A little wave of relief. He tenderly touches his bleeding +head with his hand, winces with the pain, reels with +nausea. + + LAURI + (subtitles) + Assiez-toi. + + LAURI + (subtitles) + Sit down. + +She motions for Schofield to sit, pointing at a chair near +the fire. He sways, but doesn’t move. + + LAURI + Asseyez vous. Monsieur. + + LAURI + Sit down. Sir. + +He understands enough to obey her. Swaying slightly he +drops into the chair. + +Still holding his hand to his head, he closes his eyes and +feels the warmth of the fire on his face. It makes him +almost delirious. + +Lauri watches him. She slowly moves over to Schofield and +places her hand on his. He jumps at her touch. Tenderness +foreign to him. + + LAURI + Shhh. Shhh. + +Her kindness translates. + 86. + + +She inspects the wound. She carefully parts his damp hair, +finds the jagged wound. He flinches. + +She is very close to him, he can feel her breath on his +neck. + +She reaches down, takes out a handkerchief, holds it +against the wound. + +He closes his eyes, relaxes against her touch. + +Lauri looks at Schofield, his eyes closed, his uniform +caked in blood and mud. + +At last he turns back to face her. They lock eyes. A beat. + + SCHOFIELD + (quietly) + Thank you. + +Then, from behind her comes a sound. Something soft, small. +A BABY stirring. Schofield starts. + +Lauri moves to the corner of the room. An old mattress lies +on the floor. Next to it, a drawer from an old chest has +been lined with cloth. She reaches in, lifts the child, +cradles it protectively. + + LAURI + (subtitles) + Ma petite. + + LAURI + (subtitles) + My little one. + +Schofield stares at the baby as it settles in her arms. It +can’t be more than five months old. + + SCHOFIELD + A girl? + +She nods her head. + + LAURI + (subtitles) + Qui. Une fille. + + LAURI + (subtitles) + Yes. A girl. + +Schofield smiles. A long beat. + 87. + + +The baby is waking, she begins to cry. Lauri soothes her. + +Schofield kneels down bedside them. + +The baby is soothed, she settles. + + SCHOFIELD + What is her name? + +Lauri looks to Schofield, desolate. Shakes her head. + + LAURI + (subtitles) + J’ne sais pas. + + LAURI + (subtitles) + I don’t know. + + SCHOFIELD + Who is her mother? + + LAURI + (subtitles) + J’ne sais pas. + + LAURI + (subtitles) + I don’t know. + +The sadness nearly drowns them both. A long beat. + +Schofield opens his pack and rummages - + + SCHOFIELD + I have food. Here. I have these. + You can have them - here, take them + all, for you and the child. Here. + +He empties his rations onto the mattress, a bounty in this +barren place. Lauri looks at them, aching with +hopelessness. + +Schofield doesn’t understand. + + LAURI + (subtitles) + Elle ne peut pas manger ça. Elle a + besoin de lait... + + LAURI + (subtitles) + 88. + + + She can not eat that. She needs + milk... + +She searches for the word in English- + +Schofield blinks at her, in disbelief. + + SCHOFIELD + Milk. + +Lauri nods. + +Schofield’s cold fingers pry the canteen from his belt. He +opens it and hands it to her. She looks at him in wonder. +She smells the canteen. Milk. + +Lauri looks up at him, amazement and gratitude etched onto +her tired features. + + LAURI + Merci. + +The baby is fussing. + +Schofield moves closer, gently talking to the child. + + SCHOFIELD + Bonjour. + +The baby’s bright eyes latch on to his. + + SCHOFIELD + Bonjour. + +The baby looks at him. Begins to settle. + + LAURI + (subtitles) + Avez-vous des enfants? Children - + you? + + LAURI + (subtitles) + Do you have children? Children - + you? + +He doesn’t answer. He watches the baby. + + SCHOFIELD + Shhhh... It’s alright... + + LAURI + 89. + + + (subtitles) + Elle vous aime. Continuez... + continuez a parler. + + LAURI + (subtitles) + She likes you. Continue ... keep + talking. + +Schofield looks at the child, searching for something to +say. + +He says the first thing that comes into his head. + +He speaks softly, like he’s done it before... + + SCHOFIELD + “They went to sea in a Sieve, they + did, + + SCHOFIELD + In a Sieve they went to sea: In + spite of all their friends could + say, On a winter’s morn, on a + stormy day, In a Sieve they went to + sea.” + +The baby’s eyes don’t leave Schofield. + + SCHOFIELD + “Far and few, far and few, Are the + lands where the Jumblies live; + Their heads are green, and their + hands are blue, And they went to + sea in a Sieve.” + +A beat. The baby has settled, hypnotised by the sound. + +They are still for a moment in the firelight. + +Suddenly, the distant church bell tolls. The noise rolls +through the quiet cellar. Schofield starts at the sound. + +He counts the clock strikes in his head as they happen. + +TWO... THREE... + +He keeps looking down at the baby, but his eyes are filling +with fear. + +FOUR...FIVE... His heart is sinking. + +SIX. He holds his breath. + 90. + + + Silence. + + He stands. Goes for his pack. Lauri watches him, confused. + + LAURI + (subtitles) + Le jour. Les soldats vont vous + voir... They see you. Il fera jour. + Vous devriez attendre. Stay. Stay. + Please. + + LAURI + (subtitles) + The morning. The soldiers will see + you. They see you. It will be + light. You should wait. Stay. Stay. + Please. + + SCHOFIELD + I have to go. + + Schofield takes his rifle and moves to the doorway. + + SCHOFIELD + I’m sorry. + + He leaves. + + +40 INT. HOUSE - ECOUST - CONTINUOUS 40 + + He pushes through the doorway. Damaged wooden stairs lead + up. + + Schofield slips over the rubble, over the remains of the + house. + + He peers along the empty street. + + +41 EXT. SIDE STREET - ECOUST - CONTINUOUS 41 + + Schofield stays in the shadows, and begins to work his way + along the street in the direction Lauri pointed him. + + The town is silent. He looks up at the sky to see if the + sun is rising. No light. + + He reaches a crossroads - small alleyways branch off. He + looks around. Lost. He turns to his right - a wide + alleyway. + + He moves along it, quickly, quietly. + 91. + + + BANG - ahead of him a door flies open, warm light spills + out onto the street, followed by a German soldier. PRIVATE + MULLER, 30s, blind drunk. + + Muller stumbles a few steps and then vomits. Moaning and + muttering to himself. + + Schofield ducks into the darkness of a doorway. + + Muller moans and pukes again. Schofield backs inside the + doorway and into- + + +42 INT. SCHOOL HOUSE - ECOUST - CONTINUOUS 42 + + A small school assembly hall and a couple of other rooms + have been blown together into one large space. Metal beams + where there once was a roof. A few school desks, tipped + onto their sides. + + To one side of the room, wide arched windows let in shafts + of light from the burning church outside. They streak + across the inky darkness. + + At the far end of the room is the door Private Muller just + exited. A small fire burns on the floor by it. Smoke hangs + in the room. A couple of empty bottles lie around. + + Schofield stays in the shadows. Silently scanning the + darkness, listening to the pathetic moans of Muller + outside. + + He looks around, searching for another way out, a way past + Muller. + + Out of the shadows steps a man - ANOTHER GERMAN SOLDIER - + BAUMER, late teens. He is doing up his flies. + + They lock eyes, three feet apart. + + A beat - shock on both their faces, then horror. Neither of + them want this. + + Baumer opens his mouth to scream. + + Schofield closes the three feet and is on him - pushing + Baumer hard against a pillar. + + Schofield holds Baumer there, his hand clamped over the + young soldiers mouth. They lock eyes. Schofield holds his + finger to his lips: Stay quiet. + + Baumer nods. + 92. + + +Schofield slowly drops his hand from Baumer’s mouth. Wary. + +Baumer sucks in a breath and shouts out: + +Schofield reacts quickly, ramming his palm into Baumer’s +mouth, gagging him as they both fall onto the hard ground - +the sound echoes loudly though the school house. + +Baumer bites down on Schofield’s hand, still bound with its +bandage. + +Schofield gasps out, gritting his teeth against the pain. +He forces his hand further into Baumer’s mouth, his other +hand goes to the boys throat - squeezing with all his +strength. + +Baumer has a knife. Schofield wrestles it out of his hand. + +Baumer thrashes and kicks under Schofield, rolling the two +of them to the side. + +They are two feral creatures - both know this is to the +death. + +A shadow at the far end of the room. Muller is coming +back... + + PRIVATE MULLER + Mein Gott Baumer... Das war ein + Fehler. Wir sollten heute Abend + zurück gehen. Vielleicht hat + niemand gemerkt, dass wir weg + waren. + + PRIVATE MULLER + Christ Baumer... This was a + mistake. We should go back tonight, + maybe no one will notice we’ve + gone. + +Muller staggers his way over to a spot by the fire, slumps +down. Rummages among the empty bottles. + +Baumer tears a breath in through his nostrils, tries to +scream - + +Schofield squeezes harder on the boy’s neck, pushing the +boy’s head down into the ground. Crushing him into the +broken glass and debris. + + PRIVATE MULLER + 93. + + + Wo ist der Brandy? Du kleiner + Scheisser.. wehe du bist damit + fortgelaufen. + + PRIVATE MULLER + Where’s the brandy? You little + shit, you better not have run off + with it. + +Desperately, Baumer beats his hands against Schofield’s +chest. Muller hears the noise. + +Muller turns and peers towards them. He can’t see them in +the shadows. + + PRIVATE MULLER + Baumer. Wo ist..? Baumer? + + PRIVATE MULLER + Baumer. Where is..? Baumer? + +But Schofield can see him, and his focus briefly shifts. + +In that moment, Baumer fights back - Kicking, clawing, +punching. But he is weaker now. Schofield redoubles his +efforts. His hands and arms ache. Acid stings in his +muscles. + +Schofield is desperate. His eyes flick between Muller and +Baumer. + +Baumer’s feet scratch and scrape frantically on the stone. + + PRIVATE MULLER + Baumer? + + PRIVATE MULLER + Baumer? + +Muller stands, teeters towards them. + +Then - Baumer’s arms fall limp. + +Schofield snaps up, leaving his rifle behind him, and leaps +out of the shadows. + +He barges straight past Muller, heading for the door at the +far end of the room. Muller staggers back - + + MULLER (O.S.) + BAUMER! + 94. + + +43 EXT. SIDE STREET - ECOUST - CONTINUOUS 43 + + Schofield is out of the door, running, hands free, breath + sawing in his ears. The sound of Muller behind him- + + PRIVATE MULLER (O.S.) + ENGLANDER! ENGLANDER! + + Muller’s howl chases Schofield along the street. The sound + of the door swinging open echoes after him. + + Schofield doesn’t stop. Behind him is the sound of Muller + giving chase then- + + CRACK- + + A bullet sings off the wall opposite. + + +44 EXT. SMALL STREET - ECOUST - CONTINUOUS 44 + + Schofield sprints, looking over his shoulder. + + He turns... and fifty yards in front him - + + Another German Soldier. The same man who chased him across + the square. The soldier breaks into a run, reaches for his + rifle. + + The soldier shoots, but Schofield breaks left across the + street and into - + + +45 EXT. TINY STREET - ECOUST - CONTINUOUS 45 + + A narrow alley. + + Schofield darts down it, looking for some escape. + + Muller and the other German race into the alley behind him. + + Shots burst on the wall next to Schofield. + + To his left is another corner, Schofield sprints for it. + Flat out into - + + +46 EXT. CURVED STAIRS STREET - ECOUST - CONTINUOUS 46 + + Ahead of Schofield is a flight of stone steps. + + He leaps down. Taking them three or four at a time. + 95. + + + He slams against the wall, leaps down another flight. + + His breath burns in his lungs. At the bottom of the stairs, + is a long straight street, about 100 yards. Leading to a + Bridge. + + Schofield runs towards it. + + +47 EXT. BRIDGE STREET - ECOUST - CONTINUOUS 47 + + His heartbeat thunders as he sprints flat out. + + The street slopes downhill. Yards fall under him. We can + now see the burning Town receding behind him. + + The sound of the Two Germans battering down the stairs + echoes after him. + + They hit the flat street. 30 yards behind him. + + They open fire. + + Bullets crack off the cobbles just in front of him. + + He is 50 yards from the bridge, running full tilt. + + Shots ring out. + + Schofield reaches the bridge. Bullets ring off the rubble. + + He keeps sprinting. + + And suddenly, with no warning, Schofield veers across the + street, puts one hand on the stone wall of the bridge... + + ...and vaults clean over it - + + +48 EXT. RIVER - ECOUST - CONTINUOUS 48 + + Schofield drops forty feet and smashes into the water. + + We are under the dark water. + + Schofield resurfaces, gasping for air. Numb, panicking, he + thrashes and kicks, fighting the weight, the cold, the + fear. + + He struggles to slip off his webbing. It tangles up in his + arms, pulling him down. + 96. + + +Finally he gets it off, it is swallowed up in the white +water which churns all around him. + +Losing the weight of the webbing, he manages to stay above +the water. + +The bridge and the German soldiers are long gone. The water +is fast flowing after the rain, rapids sweep him along. + +A felled tree lies across the river. Schofield grabs hold +of its branches, tries to pull himself up. But the torrent +is too strong to fight. It rips his hands away, and pulls +him under again. + +He surfaces. Coughs and splutters on the water line. + +The rapids continue to pull him through the water at speed. + +Schofield goes with it. Letting the water carry him. + +He scans the river banks ahead. They tower up steeply. He +looks for a way out. Around him, rocks jut out from the +water dangerously. They churn the river into a whirlpool, +spinning him around. + +He is now traveling backwards downstream. + +Behind him, a large rock rises up out of the water. He is +approaching it fast. He doesn’t see it. + +The water drives him hard into the rock. His back and head +are slammed against it. + +Schofield is winded, disorientated, barely staying afloat. + +Ahead there is a sound. + +A deep rumbling. + +He fights to keep his ears above the water, to hear it. + +The rapids are getting faster, more turbulent. + +Schofield realizes what the sound is - the roar of water. + +Panic flashes on his face. He thrashes, tries to swim to a +bank. + +But it’s too late. + +A waterfall lies ahead. + 97. + + +He braces himself, and then the waterfall is on him in a +flash. + +Schofield goes over it. + +He is pulled down into the plunge pool. + +We lose sight of him. And then, nothing. He is gone. + +For a few moments, just the roar of the falls. + +Then, suddenly Schofield resurfaces, gasping for air. + +The churning water pushes him free of the falls. He manages +to turn onto his back. + +The river has got wider, deeper. He grabs hold of a branch. + +The current carries him. The world around him has turned +blue in the pre-dawn light. + +The river sweeps him forward. He is still gasping for +breath. + +Now the tumbling river gradually begins to smooth out into +a cool apron of water. + +Schofield is almost unconscious. He is slipping down, his +mouth just above the waterline. + +His eyes flutter and open, he spits out water. + +Grey mistrals roll through a pale world. Unearthly. They +hover above the river ahead. + +The river slowly pulls him. Occasional trees line the bank. + +This place is untouched by war. Spared. Clean and cool and +filled with some life. + +Schofield is fighting it, but ready to accept that this is +the end. He knows too well there are worse places, worse +ways... + +Inch by inch he starts to slip down. + +His ears fall under the waterline. The sound is sucked from +the world. His eyes stare upwards. Lips just above the +water. + +Schofield seems so peaceful, just floating on the water. +The sound of the falls recedes. + 98. + + + We are aware of birds, the wind in the leaves. + + Then the water around him turns flat. The current begins to + slow. + + White. Petals float on it, a patchwork blanket. + + Cherry Blossom. + + Schofield is swept through the white petals. + + Schofield raises an arm from the water and sees the petals + clinging to him. + + Blake. + + A long beat. + + Life seeps back into him, breaks through the icy numbness. + + Schofield’s limbs struggle to work in the cold. + + He fights, willing movement. + + He swims towards the bank. + + Ahead there are the sounds of a dam: a gentle fountain of + water. + + The sun is rising somewhere - the pre-dawn light is + beginning to illuminate the world around him. + + He has reached the dam - a fallen tree. He begins to haul + himself out. He looks down. + + BODIES. + + Twelve bodies, give or take. + + SOLDIERS - British, German. And CIVILIANS. Men and women. + + They have caught and gathered, blocked by the tree from + floating downstream. They have formed a kind of dam. + + He takes the only option. He pulls himself up, and climbs + across the bodies. His way out. + + He makes it to the river bank, and stumbles up onto the + slope. + + +49 EXT. RIVER BANK - CONTINUOUS 49 + 99. + + + He drags himself across the grass, and collapses to his + knees. + + He cries. + + Big racking sobs - for the river, for life, for Blake, for + the baby. + + The morning is forming. + + Far off in the distance, something foreign, or long + forgotten. + + Music. Singing. + + Schofield listens. Then slowly gets up, walks, shaking, + towards the sound. He stumbles but doesn’t fall. His frozen + limbs are forced, dragged, back to life. + + Schofield moves up the steep rise. He stops and looks at + the woods that now lie ahead of him. + + +50 EXT. PINE WOOD - CONTINUOUS 50 + + Shafts of morning light stream through the pine trees. + + Schofield walks towards the music. Uncertain if it is real. + + The music is in the air, a canopy, almost directionless. He + can now make out a voice. And words. + + VOICE (O.S.) + ...there is no sickness, toil, nor + danger/In that bright land to which + I go... + + Schofield picks his way through the thin trees... and + suddenly the music has a source. + + A YOUNG SOLDIER stands in a small clearing. + + A British COMPANY - about two hundred men - are gathered + around listening. + + The young soldier’s voice is pure, untrained. He sings the + old folk song - “I Am A Poor Wayfaring Stranger”. + + YOUNG SOLDIER (O.S.) + I’m going there to see my Father, + And all my loved ones who’ve gone + on. + 100. + + +Schofield stops on the edge of the clearing. Unsettled by +the world before him. Unsure if these men are living or +dead. + +If he is one of these ghosts. + +He leans against a tree and slumps down on the outskirts of +the group. The music washes over him. + +Dawn is breaking. + +He closes his eyes. Done. + + YOUNG SOLDIER + I’m only going over Jordan I’m only + going over home. + +The song finishes. A smattering of applause. + + CAPTAIN (O.S.) + D Company! MOVE OUT! + +The men stand up and begin to move. Then a voice. + + PRIVATE SEYMOUR + You alright pal? + +Schofield opens his eyes. A pair of legs before him. + + PRIVATE SEYMOUR + Where are you from? + +Another pair of legs. + + PRIVATE GREY + He’s probably got the wind up. + + PRIVATE SEYMOUR + Well he’s not one of ours. + + PRIVATE BULLEN + He’s bloody soaked. + + PRIVATE GREY + Fuck it, let’s just pick him up and + take him with us. + + SCHOFIELD + (very faintly) + Have to find the Devons. + + PRIVATE GREY + 101. + + + What’s he saying? + + PRIVATE SEYMOUR + What’s that mate? + + SCHOFIELD + The Devons. I have to find the + Devons. + +A pause while the soldiers share a look. + + PRIVATE SEYMOUR + We’re the Devons. + +Schofield looks up at them, disbelief on his face. + + SCHOFIELD + You’re the Devons. + + PRIVATE SEYMOUR + Yes, Corp. + + SCHOFIELD + Why haven’t you gone over? + + PRIVATE BULLEN + We’re the second wave. + + PRIVATE WILLOCK + They don’t send us all at once. + + PRIVATE SEYMOUR + We’re D Company, we spent the night + digging in. We go last. + +Schofield staggers to his feet. His hand goes to his tunic +pocket, to the envelope. + + PRIVATE SEYMOUR + Are you all right? + + SCHOFIELD + Mackenzie. Where’s Colonel + Mackenzie? + + PRIVATE SEYMOUR + He’s down at the line. + + SCHOFIELD + Which way? + + PRIVATE SEYMOUR + 102. + + + This way. We’re headed up there + now. + + Schofield takes off down the line of men, shoving and + pushing his way as the queue of them winds out of the + woods. + + We hear Seymour behind him. + + PRIVATE SEYMOUR (O.S.) + Oy! Steady on mate! Where you + going? + + Schofield reaches the edge of the wood. From the break in + the trees he can see the land stretching ahead of him. + + The one-day-old British trench, is perhaps forty yards + away, and beyond it, far in the distance, on the higher + ground is a black ribbon across the land: The German + trenches. From here you can just begin to sense the scale + of it. + + A comms trench leads to the front line. Schofield staggers + down into it. + + +51 EXT. 2ND COMMS TRENCH - CONTINUOUS 51 + + Schofield begins to run along the comms trench, stumbling, + weaving in and out of the advancing line of soldiers. + + SCHOFIELD + Move! + + We catch glimpses of the men as Schofield passes - + + SCHOFIELD + Let me by - Move! Let me through! + + He grabs the first Corporal he sees by the shoulder. + + SCHOFIELD + Where’s your commanding officer? + + LANCE CORPORAL DUFF + He’s in the holding pen. + + Schofield sprints in that direction - shoving and barging + now. + + As he approaches the Holding Area, we can see THRONGS of + SOLDIERS - The 2nd A and B Companies. + 103. + + +52 EXT. HOLDING PEN - CONTINUOUS 52 + + The holding area is packed with men. + + LIEUTENANT HUTTON(O.S.) + B Company, stand to! Now listen, + and listen well! + + Schofield spots the commanding voice, pushes through + towards the Lieutenant- + + LIEUTENANT HUTTON + On the first mark, A Company will + advance! B Company will then move + to the front line! + + SCHOFIELD + Sir, I have a message from General + Erinmore! + + LIEUTENANT HUTTON + Who the fuck are you? + + SCHOFIELD + The attack has been called off. + General Erinmore has called off the + attack. + + The Lieutenant stares at Schofield, incredulous. + + LIEUTENANT HUTTON + Balls, man. We’re about to go over. + We’ve got them on the run. + + SCHOFIELD + (frantic) + You don’t! Please. Don’t send your + men over. + + LIEUTENANT HUTTON + Get out of the way, Corporal - + + SCHOFIELD + These are direct orders from Army + command! Where is the Colonel + Mackenzie? + + Schofield brandishes his letter. Still wet from the river, + but legible. He looks like a madman. Hutton grabs him by + the lapels. + + LIEUTENANT HUTTON + (furious) + 104. + + + Jesus Christ, man! Go and see the + Captain! + + Hutton shoves him away. Schofield staggers on, pushing out + of the holding area. As he goes, we hear Hutton bellowing + to his men- + + LIEUTENANT HUTTON + Now I want us up there quickly, you + understand? Do you understand! + + Hutton’s men respond: ‘Yes, Sir!’ etc. + + Schofield rushes through them and into - + + +53 EXT. 2ND FRONT LINE TRENCH - CONTINUOUS 53 + + The narrow trench is packed with more men. + + This trench is hastily dug. Little more than a temporary + berm, perhaps five feet high. Hundreds of men crouch just + inside the trench wall, waiting, preparing. + + He pushes past more men. And still more. + + SERGEANT WRIGHT + Sections 9 and 10 at the ready! We + will advance on the first whistle + blast! + + Schofield pushes forwards. + + SERGEANT GARDNER + You must not slow down! If the man + next to you falls, keep moving! + Your orders are to break the lines + - + + SCHOFIELD + Where is the Captain? + + Gardner nods to CAPTAIN IVINS, rocking back and forth, head + bowed. + + SERGEANT GARDNER + He’s over there. + + Schofield gets to Ivins. + + SCHOFIELD + Sir? Sir! + 105. + + +Ivins looks up at Schofield, he’s crying, muttering to +himself, terrified. Tears roll down his face. + + SCHOFIELD + Captain, I have a message. This + attack is called off. You have to + stop, you have to stop - + +Before he can say more, the air vibrates. An impossibly +loud sound - + +GERMAN ARTILLERY. + +Shells scream overhead and then - a wall of noise. + +The air seems to tremble. + +SOLDIERS press themselves into the walls of the trench, +take cover wherever they can. + +The earth groans as the shells land. Pounding the earth all +around. Not yet zeroed in on the British Line. + + CAPTAIN IVINS + (Soundlessly) + No. No. No. + +Schofield grabs Ivins. + + SCHOFIELD + (Shouting, soundless) + Where is Colonel Mackenzie? + +Men cover their ears and squeeze their skulls, but the +sound still drowns them. Captain Ivins has his hands over +his ears. + +Schofield tries to wrestle his arms away, so he can be +heard. + + SCHOFIELD + (Again, soundless) + Where is Mackenzie? + +No response. The noise is too much. + +Some men push their heads against the front wall of the +trench, scream into the mud, all voices are lost. Others +cower into the earth. + +The noise is unbearable. + 106. + + +Schofield leaves Ivins, moving faster through the line now +as men crouch and contort themselves low. + +Schofield pushes forwards. + +Then, twenty yards behind Schofield - a direct hit. + +The concussion of the blast ripples along the narrow +trench. + +The walls literally bleed earth and chalk. + +In an instant IVINS, his men, the entire section of trench +they were in has vanished. They simply disappear - + +Schofield is thrown forward, into a huddle of stunned men. + +Sound creeps back into the world, raspy screams over the +thunder of explosions. We can hear a voice in the distance. + + SERGEANT GARDNER(O.S.) + Bearers! Stretcher bearers! + +Schofield drags himself to his feet, keeps moving along the +trench. + +German shells whistle through the air all around. + +Schofield pushes his way along. + +Fountains of mud and iron burst in No Man’s Land, towering +into the sky, showering dirt and shrapnel onto the line. + +Schofield doesn’t stop running, pushing through A and B +Companies. + +The trench gets thinner, tapering in- + +Schofield fights through the men now, running out of space, +running out of time. + +The trench narrows until Schofield can’t get through the +men. + +The PLATOONS have lost their form here, there are no gaps +between them, everyone is packed together in the chaos. + +The German artillery is increasing now. Every moment is +rocked with noise. There is no space, no silence. + +Ahead of him, 100 yards down, the trench takes another +direct hit. But Schofield keeps moving towards it. + 107. + + +MEN flow away from the damage. Pushing their way towards +Schofield. Completely blocking the trench. + +Schofield pushes forward until the trench becomes +impassable. + +A wall of men, with nowhere to go. + +A burly Sergeant is ahead of him, brandishing a pistol, +yelling commands, trying to regain some sort of order, but +his words are lost in the roar of the shells. + + SERGEANT GUTHRIE + GET BACK! Return to your sectors. + GET BACK! BACK! Hold fast! + +Schofield pushes past him, and finds the nearest C.O. - +LIEUTENANT RICHARDS. His eyes are on his men, revolver in +hand. + + LIEUTENANT RICHARDS + SEVEN PLATOON! ONE MINUTE! + +Schofield grabs at him, screams- + + SCHOFIELD + Sir, I have orders to stop this + attack. + +Richards wants to believe him. + + LIEUTENANT RICHARDS + What? + + SCHOFIELD + Where is Colonel Mackenzie? + + LIEUTENANT RICHARDS + He’s further up the line. + + SCHOFIELD + How far? + + LIEUTENANT RICHARDS + Three hundred yards. He’s in a cut + and cover. + +Both of them look around. + + LIEUTENANT RICHARDS + You’ll have to wait until the first + wave goes over. + 108. + + + SCHOFIELD + No! No, I can’t! + + Schofield turns and looks. More shells hit the trench. + Chaos. + + The way to Mackenzie is impassable. Panic mingles with + despair. + + Richards turns back to his men. + + LIEUTENANT RICHARDS + 7 PLATOON! THIRTY SECONDS! + + Suddenly, Schofield climbs up onto the firing step... + + Richards turns and sees him. + + LIEUTENANT RICHARDS + You can’t possibly make it that way + man, are you bloody insane? + + 300 yards. Open ground, utterly without cover. It may as + well be on the moon. + + Everything slows. Something in Schofield snaps. + + LIEUTENANT RICHARDS + What the hell are you doing, Lance + Corporal? + + Schofield is on the top step... + + He stands. + + LIEUTENANT RICHARDS + NO, NO, NO, NO! + + Richards and his men watch on in disbelief, as an unarmed + Schofield staggers out and into- + + +54 EXT. NO MAN'S LAND - CONTINUOUS 54 + + Schofield stumbles forwards. Shocked that he is now out in + the open. + + Then he starts to run, picking up speed. + + Now Schofield is sprinting full pelt, parallel to the + trench- + 109. + + + His breath burns in and out, sawing in his ears + + Schofield doesn’t stop. + + His legs thump over the earth. + + We hear the screech of the whistle. Three short blasts. + + The roar of hundreds of men follows- + + Schofield keeps sprinting to the western trench as now, SIX + HUNDRED SOLDIERS pour out of the British front line- + + Running out into No Man’s Land, and crossing in front and + behind Schofield. + + Hundreds of soldiers, heading towards the German lines as + he keeps sprinting to the western trench. + + The German guns now erupt again. + + Men fall in their dozens. + + Hundreds more pour over the top. + + Schofield is only half way. He stumbles, falls. But picks + himself up and keeps on running. + + The whole world shakes on its axis as the shells land. + + The air thunders around him. The ground itself bursts and + rolls. + + A Company are still pouring out into No Man’s Land. + + Schofield is running, running. + + Through the hail of bullets and shells. + + Still running. + + His lungs burn, his breath grates in his throat as he runs. + + Behind him, men continue to pour over the top. + + Schofield sprints the final few feet and - + + He jumps desperately into - + + +55 EXT. 2ND COMMAND TRENCH - CONTINUOUS 55 + 110. + + +He tumbles and lands amongst the waiting men of B Company, +now in the breech. + +Schofield careens through them and hits the ground hard. + +Men look down at him in horror. He brandishes his message +as a Captain, SANDBACH, closes in on him- + + SCHOFIELD + (Breathless) + Colonel Mackenzie? + +The Captain helps Schofield to his feet and pushes him in +the direction of a dugout- + + CAPTAIN SANDBACH + He’s in there. + (he turns to his men) + B Company two minutes! + +There is a lull in the shelling, the earth still rumbles +above them with the sounds of distant machine guns, but the +blasts have stopped. + +Schofield runs, half limping, cutting through the men who +are about to be sent over the top, and pushes his way to +the entrance of a dugout. + + SCHOFIELD + Let me through! + + ORDERLY DIXON + Hey, hey...! + + SCHOFIELD + Let me through! + +Schofield drops down a few steps, a second orderly, BYRNE +grabs him. Schofield tries to get past. + + ORDERLY BYRNE + (overlapping) + What the hell do you think you’re + doing? + + SCHOFIELD + I have to get through. I have to + see Colonel Mackenzie! + + ORDERLY DIXON + What are you doing?! + + SCHOFIELD + 111. + + + I have to stop this attack- + + He pushes past Dixon and into- + + +56 INT. MACKENZIE’S DUGOUT ANTE-ROOM - CONTINUOUS 56 + + The two Orderlies have Schofield by the arms now. He has no + strength left to fight them. + + His voice is lost in melee, as CAPTAIN RYLANDS sweeps past + him and in- + + CAPTAIN RYLANDS + Colonel, we’ve seen flares, the men + on the left flank have made it to + the German Line- + + SCHOFIELD + Colonel! + + ORDERLY DIXON + Hold him! + + SCHOFIELD + Colonel! + + The Orderlies haul him out of the dugout. + + +57 EXT. 2ND COMMAND TRENCH - CONTINUOUS 57 + + Schofield struggles wildly against the orderlies, they have + him pinned against the trench wall. + + SCHOFIELD + Listen to me, listen to me! I have + a letter! I need to see Colonel + MacKenzie! + + The Orderlies yell over him. + + ORDERLY BYRNE + There’s no bloody way you’re + getting in there, mate! + + Captain Rylands exits the dugout and bellows down the + sector to two Sergeants. + + CAPTAIN RYLANDS + Sergeant! Send the next wave! + 112. + + + The Sergeants yell back in the affirmative from further + down the line. + + SCHOFIELD + NO! + + With the last of his strength, Schofield throws his elbow + into the stomach of one of the orderlies. He breaks away + from them and into- + + +58 INT. MACKENZIE'S DUGOUT - CONTINUOUS 58 + + Schofield careens into the room. A huddle of OFFICERS are + inside, their backs to him. A commanding voice emanates + from among them. + + COLONEL MACKENZIE (O.S.) + Tell Ivins and Murphy to direct + their men to the left flank. + Concentrate everything there. + + SCHOFIELD + COLONEL MACKENZIE! + + The officers turn on Schofield, parting as they do. In the + centre, staring straight at him, is COLONEL MACKENZIE, 40s. + + Mackenzie stands ramrod straight, and is immaculately + turned out, despite the chaos surrounding him. He has a + small scar across his left eye. + + SCHOFIELD + (in a rush) + Sir, this attack is not to go + ahead! You’ve been ordered to stop. + You have to stop. + + COLONEL MACKENZIE + Who the hell are you? + + SCHOFIELD + Lance Corporal Schofield, Sir. 8th. + I have orders from General Erinmore + to call off this attack. + + Schofield offers up the letter. The other Officers all + react. + + But Mackenzie doesn’t take it. + + COLONEL MACKENZIE + You’re too late, Lance Corporal. + 113. + + + SCHOFIELD + Sir, these orders are from Army + Command. You have to read them. + +He holds out the letter to Mackenzie. A damp scrap of +paper. + +A Major, HEPBURN, is listening closely. + + MAJOR HEPBURN + Shall we hold back the second wave, + Sir? + + COLONEL MACKENZIE + No, Major. Hesitate now and we + lose. Victory is five hundred yards + away. + +Mackenzie is resolute. + + SCHOFIELD + Sir...Sir! Please read the letter. + + COLONEL MACKENZIE + I have heard it all before. I’m not + going to wait until dusk, or for + fog. I’m not calling back my men, + only to send them out there again + tomorrow. Not when we’ve got the + bastards on the run. This is their + last stand. + + SCHOFIELD + The German’s planned this, Sir. + They’ve been planning it for + months. They want you to attack. + Read the letter. + +This catches MacKenzie’s attention. He nods to Major +Hepburn: get the letter. + +Hepburn takes the letter from Schofield, hands it to +Colonel MacKenzie. + +MacKenzie opens it. Reads. + +His face utterly impassive. Inscrutable. + +Schofield waits. + + COLONEL MACKENZIE + Major. + 114. + + + MAJOR HEPBURN + Yes, Sir. + +A horrible moment of silence. Everything hangs on this. + + COLONEL MACKENZIE + Stand them down. + + MAJOR HEPBURN + Yes, Sir. + +Schofield closes his eyes. Relief floods his body. + +The Major runs from the dugout, a blast of whistles from +the outside - a signal to stop. + +Mackenzie addresses his other officers. + + COLONEL MACKENZIE + Call up the orderlies. Tend the + wounded. Hold the line in case they + counter. + + OFFICERS + Yes, Sir. + +The Officers empty out of the dugout. Noises of orders +being shouted and whistles being blown seep in from +outside. + +A long beat. Schofield senses Mackenzie moving closer to +him. + +They are now alone. + +Mackenzie speaks quietly. + + COLONEL MACKENZIE + I hoped today might be a good day. + Hope is a dangerous thing. + +Schofield stands stock still. + + COLONEL MACKENZIE + That’s it for now. Then next week, + Command will send a different + message. Attack at dawn. + +Mackenzie looks him in the eye. + + COLONEL MACKENZIE + 115. + + + There is only one way this war + ends. Last man standing. + +Mackenzie looks him up and down. + + COLONEL MACKENZIE + Have someone see to your wounds. + +Schofield is frozen. + + COLONEL MACKENZIE + Now fuck off, Lance Corporal. + +Schofield leaves the main dugout. Major Hepburn stands just +outside the door. He grabs Schofield’s arm as he passes. + +Schofield turns. + + MAJOR HEPBURN + (heartfelt) + Well done, lad. + + SCHOFIELD + Thank you, Sir. + +Beat. + + SCHOFIELD + Do you know where Lieutenant Blake + is, Sir? + + MAJOR HEPBURN + Blake? + + SCHOFIELD + There were two of us. I was sent + here with his brother. + +He looks at him. The Major understands. + + MAJOR HEPBURN + Ah. + +Beat. + + MAJOR HEPBURN + Well, knowing Lieutenant Blake he + would have gone over with his men. + He was in the first wave. + + SCHOFIELD + How could I find him, Sir? + 116. + + + MAJOR HEPBURN + You can try the casualty clearing + station, behind the line. + Otherwise... + + Beat. + + SCHOFIELD + Thank you, Sir. + + CORPORAL CAIRNS (O.S.) + Major Hepburn, Sir! + + He leaves. A beat while Schofield orientates himself. Then + he turns and walks out into - + + +59 EXT. 2ND TRENCH - CONTINUOUS 59 + + The sounds of the wounded and the dying as they pass. The + German guns have stopped for now. A brief pause. + + Schofield walks along the line. + + The B, C and D Companies are gathered, pulling in the + survivors, carrying dying and wounded men along the trench. + + Lifting them by hand where they have no stretchers. + + Schofield continues along. Searching for officers, for + Lieutenant Blake. No one looks at him. No one sees him. He + slips past them, a ghost. + + +60 EXT. SHATTERED COMMS TRENCH - CONTINUOUS 60 + + Schofield turns the corner, and pushes his way along the + zig-zag length of the trench. + + STRETCHER BEARERS push past him, pressing him against the + back wall as they pass with the wounded. + + SCHOFIELD + Sergeant, I have to find Lieutenant + Blake. Do you know where he is? + + SERGEANT + No. + + Schofield follows them, up a slope, and emerging out into- + 117. + + +61 EXT. MEADOW - CONTINUOUS 61 + + An impromptu field station, where several overwhelmed + MEDICAL OFFICERS, CHAPLAINS and ORDERLIES from the RAMC + tend to the wounded. + + Schofield moves to the tent. + + SCHOFIELD + Sir, is Lieutenant Blake here? + + MEDICAL OFFICER + No idea. + (beat) + Move along Corporal. + + Schofield walks through the tent, scanning the wounded. + + Looking at the faces, the bodies. + + MEDICAL OFFCIER + If you can walk, move to the triage + area. + + None of the men are officers, none could be Blake’s + brother. + + SCHOFIELD + Lieutenant Blake! Blake?! Has + anyone seen Lieutenant Blake? + + He moves through a tent of gravely wounded men. The + terrible sounds of the dying. None are Blake’s brother. + + Schofield moves outside. He finally stands still, hopeless. + + Sick with his failure. + + LIEUTENANT (O.S) + Now come on boys. He’s taken one in + the leg. He’s lost a lot of blood. + + Schofield turns to see an Officer. He is following a + stretcher bearer into the field station from the opposite + direction. + + Schofield stares at the man’s back. The sound of his voice. + + Just an instinct... + + SCHOFIELD + Lieutenant Blake? + 118. + + +The Officer stops and turns to him. His similarity to his +brother takes Schofield’s breath away. + + LIEUTENANT BLAKE + Yes. + +Schofield is shaky on his feet. He sways a bit, staring at +him. + + LIEUTENANT BLAKE + Do you need medical assistance? + + SCHOFIELD + No, Sir. I’m from the 8th. + + LIEUTENANT BLAKE + What the hell are you doing here? + + SCHOFIELD + I was sent here to deliver a + message-- + +Recognition plays on Blake’s face, he smiles at the mention +of his brother’s brigade, moves towards Schofield. + + LIEUTENANT BLAKE + The 8th? You must know my brother. + + SCHOFIELD + I was sent here with him. + + LIEUTENANT BLAKE + Tom’s here? Where is he? + +Schofield looks at him. Blake’s smile slowly drops. A +pause. + + SCHOFIELD + It was very quick. + +Blake takes it in. + + SCHOFIELD + I’m sorry. + +Blake nods, wordless. Schofield goes into his tunic pocket, +pulls out Blake’s possessions. There is blood on them. The +elder Blake’s face is ashen as he takes them. His eyes fill +with tears. + + LIEUTENANT BLAKE + What’s your name? + 119. + + + SCHOFIELD + Schofield, Sir. + +Blake nods. He looks down at his brother’s possessions in +his hands. + + LIEUTENANT BLAKE + I’m sorry... what? + + SCHOFIELD + It’s Schofield, Sir. William + Schofield. Will. + + LIEUTENANT BLAKE + Well, you need some food. Get + yourself to the mess tent. + +Beat. Schofield turns to leave. Then - + + SCHOFIELD + If I may, I’d like to write to your + mother. Tell her that Tom wasn’t + alone. + + LIEUTENANT BLAKE + Of course. + +Schofield searches for something to say. + + SCHOFIELD + He was...he was a good man. Always + telling funny stories. + +Blake nods. It doesn’t seem enough. + +Then Schofield finds the right words. + + SCHOFIELD + He saved my life. + +Schofield reaches out to shake his hand. Blake takes it. +They are still for a second. + + LIEUTENANT BLAKE + I am glad you were with him. + (Then) + Thank you, Will. + +Schofield nods. He turns and walks away. + +He is like a sleepwalker. Unsure of where to go. + 120. + + +He moves away from the makeshift Aid Post and into the +meadow beyond. + +The grass sways in the breeze. This place is beginning to +turn gold in the morning sun. Schofield drifts through it. + +The noise of the horror behind him gradually fades. + +Ahead, on the plain, an oak tree towers. Untouched. On the +high branches, leaves dance in the wind. + +Schofield walks towards it. He sits on the far side of it, +his back to the trunk. The land stretches out ahead of him +in the early light. + +He listens to the wind in the leaves. Birdsong. + +He undoes his breast pocket. He pulls out the small tobacco +tin. He stares at it. + +He takes a deep breath and opens it. Two photographs. + +Schofield lifts them out, looks at them: + +TWO YOUNG GIRLS, his daughters. They smile at the camera. + +He looks at the other - his WIFE. + +He turns the photo over. + +On the back, her handwriting: + +“Come back to us.” + +He stares at it for a long beat. + +The pain on his face ebbs into longing. Love. + +He closes his eyes and feels the sun on his face. + +THE END. + +FOR LANCE CORPORAL ALFRED H. MENDES + +1ST BATTALION, KING’S ROYAL RIFLE CORPS + +WHO TOLD US THE STORIES + \ No newline at end of file