EXT. FRANCE. ALBERT CATHEDRAL - FLASHBACK
The sky erupts with a bone-shuddering bombardment of
artillery fire, casting an infernal glow over the
landscape. It's hell on earth.
SUPER: FRANCE - ALBERT - SEPTEMBER 1915 - THE FRONT LINE
Constant shelling scatters terrified SOLDIERS in every
direction. Their screams of pain are drowned out by the
deafening sounds of war.
In the chaos, a twenty-year-old DOROTHY LAWRENCE stands
defeated. Her womanly features are disguised by oversized
soldier attire. Her eyes, hollow and vacant, fix on the
perpendicular statue of the Virgin Mary hanging from the
blitzed cathedral. Bullets ping through it, showering the
ground with holy fragments.
SUPER: BASED ON A TRUE STORY
Sapper TOM DUNN, in his 20s, well-trained and fearless,
navigates a gauntlet of explosions. His boyish face is
tangled with determination and debris. He tackles Dorothy to
the ground just as a bomb tears apart a nearby combat vehicle
carrying MEN. Fuel, metal, and flesh rain down over them.
The horror of war, perhaps something deeper, finally cracks
her resolve as she sobs into the mud.
END OF FLASHBACK
INT. FRIERN HOSPITAL. VISITING ROOM - DAY
Two local JOURNALISTS await a response from the now frail,
aged DOROTHY LAWRENCE. Her eyes search the past, still
empty.
SUPER: FRIERN PSYCHIATRIC HOSPITAL, LONDON, 1964
A stone-faced, no-nonsense SIMON JONES impatiently taps his
pencil, his demeanour unyielding. His delicate, bookish
colleague, MARY SIMMONS, in her twenties, gives him a
concerned look.
SIMON
Miss Lawrence? You with us?
His frustration gets the better of him.
SIMON (CONT'D)
This is a waste of time.
MARY
Simon. Give her moment.
2.
SIMON
Dorothy? Miss Lawrence. You with
us?
MARY
Stop.
SIMON
Well, what are we reporting here?
'Woman stares out of window for two
hours.'
Far from impressed, Mary silently apologises to Dorothy.
Simon studies a copy of Dorothy's book, 'Sapper Dorothy.'
SIMON (CONT'D)
This book would be better suited to
the fiction shelf. It's a bit far-
fetched, don't you think?
MARY
According to the men who condemned
it when it was first published.
SIMON
Well, looking at where she is now,
I'm not surprised.
Simon gestures to a militant STAFF MEMBER to leave the locked
room.
Mary silently makes notes.
DOROTHY (O.S)
He should be more patient that one.
Mary jolts.
MARY
Miss Lawrence. You startled me.
DOROTHY
Call me Dorothy.
MARY
Dorothy...I'm Mary.
DOROTHY
You're here from newspaper. A very
eyebrow one at that.
Dorothy steals one of Simon's cigarettes.
MARY
That's right. We came across your
book. It's fascinating.
(MORE)
3.
MARY (CONT'D)
I persuaded the paper to let us do
an article about it.
DOROTHY
Us? Young Simon doesn't seem to be
impressed with my story.
Dorothy pockets the remaining cigarettes.
MARY
Simon gets ahead of himself. Says
things he doesn't mean.
DOROTHY
He's a man. Take them with a pitch
of salt.
Dorothy winks, putting Mary at ease.
MARY
Are you okay to continue? If it's
not too much trouble.
DOROTHY
I'm never trouble. Not anymore. Not
with the medication they've put me
on.
Simon returns. Still annoyed.
SIMON
What did I miss?
DOROTHY
Women, talking. Like grown ups.
SIMON
Miss Lawrence, you're back with us.
DOROTHY
I never went anywhere.
SIMON
Sorry, I meant...
He hesitates. Is she joking?
DOROTHY
Go on.
SIMON
You drifted off...slightly.
MARY
It's the medication.
Dorothy and Mary share a smirk.
4.
Genres:
["War","Drama","Historical"]
Ratings
Scene
2 -
Empowerment in the Hospital Corridor
INT. FRIERN HOSPITAL. CORRIDOR - LATER
A long clinical corridor with PATIENTS aimlessly walking
around, all displaying strange behaviour.
A beefy MALE ORDERLY follows the pair closely.
MARY
She's funny.
SIMON
Yeah she's a hoot.
MARY
You have to be patient Simon. Stop
being so erratic.
SIMON
Erratic?
An ELDERLY WOMAN sobs into a wall.
SIMON (CONT'D)
I'm erratic? Look at this place.
She may be all sweet now, but she
is in here for a reason, remember
that.
INT. VISITING ROOM - DAY
The window overlooks the serene open hospital grounds.
OUTSIDE
an exercise group of PATIENTS stretch and bend from the calls
of the NURSE.
The gentle breeze filters up through the window, flowing
through Dorothy's thinning, grey hair.
DOROTHY
I once had a bicycle. We used to
ride through the wonderful
countryside together. I miss that
freedom.
Simon throws Mary an exasperated look.
MARY
So maybe you can tell us more? What
you did during the war?
A dinner bell rings from the hospital grounds.
DOROTHY
I was...
5.
The ringing becomes overbearing.
DOROTHY (CONT'D)
...I was a writer.
Simon and Mary take notes.
MARY
A writer? How wonderful.
The ringing continues. The past, calling to Dorothy.
MARY (CONT'D)
Dorothy? Dorothy?
EXT. LONDON. FLEET STREET - FLASHBACK
Fleet street. Blocked off to traffic.
A SUFFRAGETTE swings a school bell from a raised platform.
The ringing gathers ONLOOKERS.
Other SUFFRAGETTES hold banners with 'PEACE,' 'STOP THE WAR'
and 'VOTES FOR WOMEN,' emblazoned on them.
SUPER: LONDON - FLEET STREET - MAY 1915 - 208 MILES FROM THE
FRONT LINE
A youthful, inspired Dorothy notes down the action, observing
a small group of ROWDY MEN, mocking the Suffragettes.
MARTH SMITH (O.S)
Dorothy! Dorothy!
MARTHA SMITH strides towards Dorothy. Like the Suffragettes;
she embodies every inch of their movement. A fierce modern
woman.
MARTHA
Sorry I'm late. Martin wouldn't
leave. He wanted to cuddle.
Martha shudders at the thought.
DOROTHY
Dare I ask who Martin is?
MARTHA
He's American.
DOROTHY
Anything else?
MARTHA
He snores.
A cheeky wink.
6.
MARTHA (CONT'D)
So what did I miss?
She attempts to copy Dorothy's notes.
DOROTHY
Well if you had arrived on time,
you would know.
MARTHA
Sorry mother.
Turning to observe.
MARTHA (CONT'D)
These women certainly know how to
stop traffic.
DOROTHY
I think they're wonderful.
The rowdy men wolf whistle at the Suffragette on the
platform.
With pencil poised...
MARTHA
...So, Miss Lawrence, do you care
to share with The Times about your
date last night?
DOROTHY
I won't be seeing him again.
MARTHA
Why not? He seemed sweet. Odd
looking, but sweet.
Martha grips a cigarette between her teeth, offering one to
Dorothy who pushes it away.
DOROTHY
He said something I didn't approve
of.
MARTHA
Like what? Can I touch your lady
garden?
DOROTHY
Martha!
MARTHA
Was it something vulgar?
DOROTHY
Why does it always have to be
something vulgar with you?
7.
MARTHA
If men can be vulgar, so can I.
DOROTHY
It's not becoming.
MARTHA
So what did he say?
DOROTHY
He said women have no right to take
up jobs designed for men.
MARTHA
That lousy son of bitch. Did you
throw food on him?
DOROTHY
I certainly did not. I thanked him
for dinner and I left.
MARTHA
You should have punched him right
in his face.
DOROTHY
I wasn't going to punch him.
MARTHA
I would have punched him. Remind me
to give you some tips.
DOROTHY
I don't need tips, thank you very
much.
MARTHA
Yes you do. You're too kind and
sweet. Like a puppy. A very cute
and innocent puppy.
She wiggles Dorothy's cheeks.
DOROTHY
I am not a puppy. Kindness is a
good quality, I'll have you know.
MARTHA
Yes, but there are times when
kindness needs to be replaced with
a good right hook.
Dorothy frowns.
MARTHA (CONT'D)
...or with something less violent.
Like spirit. Grit. Determination.
8.
DOROTHY
Don't you think I have spirit?
MARTHA
Not enough. Look at those women.
The Suffragettes bark out their rights.
MARTHA (CONT'D)
Those women are the future of this
country. Do you think they would
have stood by and let that foul man
say the things he said?
Dorothy shamefully shakes her head.
MARTHA (CONT'D)
And why not?
DOROTHY
Because they know their rights.
They know they're equal.
MARTHA
So why do you think that you're not
equal?
DOROTHY
I do think I'm equal.
MARTHA
Then act like it. In this business,
we are surrounded by pig headed men
who think that women have limits.
Sod limits I say. We are very
capable and have been for many
years. Men have ingrained those
limits over centuries of
repression. Making us think we are
not worthy. Well, now it's our turn
to show them just how worthy we
really are. The future has breasts
and lots of them.
Dorothy coos at the impressive speech.
DOROTHY
I don't want to cause upset though.
I'm not brave like you.
MARTHA
Don't ever say that. You are brave.
You're already causing waves by
being a journalist.
The rowdy men heckle more.
9.
MARTHA (CONT'D)
See what I mean? Bloody men,
thinking they can bring us down.
DOROTHY
I wish they would be quiet.
MARTHA
Go tell them.
DOROTHY
Absolutely not.
MARTHA
Now is your chance. Go tell them.
Show some spirit.
DOROTHY
I couldn't possibly.
DAYDREAM - the rowdy men egg each other on. Dorothy gently
taps the middle-aged FAT MAN on his shoulder.
DOROTHY (CONT'D)
Excuse me. Do you mind letting the
women speak?
FAT MAN
Piss off you silly tart.
Dorothy aggressively swings a right hook, knocking him out.
Everyone applauds.
MARTHA (O.S.)
Dorothy!
END OF DAYDREAM
MARTHA (CONT'D)
Are you listening to me? Go tell
them I said.
DOROTHY
I can't.
MARTHA
(To rowdy men)
Oi! You mind shutting your traps
whilst the ladies speak?
DOROTHY
Martha don't!
The fat man, the sort of caveman who thinks holding hands in
public is a crime, sticks up his middle finger.
10.
FAT MAN
Piss off! Shouldn't you be at home
watching the kiddies love?
The mob cackle, but that's fighting talk in Martha's book.
DOROTHY
Oh no. Martha please.
Martha lights up a cigarette - clasping it between her teeth
as she steam rolls towards him whilst rolling up hetr
sleeves.
DOROTHY (CONT'D)
Ignore him please. Martha stop. Use
your spirit...not your fists.
Martha halts inches from the fat man and blows smoke in his
face.
DOROTHY (CONT'D)
I'm so sorry. She's just had some
bad news that's all.
FAT MAN
One of yer sailor boyfriends been
blown up?
The men laugh.
FAT MAN (CONT'D)
You should keep ya legs crossed ya
silly tart.
Dorothy winces.
MARTHA
I'm sorry, I didn't quite catch
that?
FAT MAN
Go home will yer. Plenty more
sailors in the sea.
MARTHA
I have every right to be here. What
makes you so special, fatso?
Everyone apart from the fat man laughs.
FAT MAN
Well, for starters, I'm a man.
That's what makes me so
special...sweetheart.
Martha clenches her fists.
11.
MARTHA
Say sorry.
He laughs in her face.
MARTHA (CONT'D)
Is that fat blocking your ears? I
said, say sorry.
FAT MAN
If you think I'm gonna apologies to
a woman, you're mad love.
MARTHA
I'm not your love.
DOROTHY
Martha, I think we should go.
FAT MAN
Yeah, Martha, listen to your friend
and piss off. Stupid cow.
With that, she punches him in the stomach making him curl
over in pain.
MARTHA
I hope you've learned something
today? All of you! Now let the
women speak!
The men cower away.
MARTHA (CONT'D)
Good boys.
Martha turns her smile back on and floats away.
DOROTHY
Is that what you meant by spirited?
They walk on giggling.
A recruitment poster in the shop window reads; 'If the cap
fits you, join the army to-day.'
Genres:
["Drama","Historical","War"]
Ratings
Scene
3 -
Divergent Desires
EXT. ST. PAUL'S CATHEDRAL - DAY
St. Paul's Cathedral welcomes an array of activity. Off duty
BRITISH SOLDIERS, BANKERS and CHILDREN play.
A very handsome BRITISH SOLDIER catches the girls eye. His
stare could melt any heart.
MARTHA
What about that one?
12.
DOROTHY
Too handsome. I wouldn't know what
to do with him.
MARTHA
I would. He looks naughty.
They giggle like two school girls.
DOROTHY
I just want to do something
different Martha. There's a war
happening and we've been left
behind.
MARTHA
Do you read the newspapers?
DOROTHY
Of course.
MARTHA
So you will have seen what the
women in this country are doing for
this war. The munition factories,
railway guards, firefighters,
police even.
DOROTHY
Yes, and that is wonderful. I'm a
journalist. I want to see what is
happening out there.
Martha scoffs.
MARTHA
Nothing but a load of men flexing
their muscles.
DOROTHY
But wouldn't you like to see it
first hand? Just imagine the
stories Martha.
MARTHA
All I imagine is the mud and stink.
DOROTHY
But to actually experience the mud
and stink...isn't that what real
journalist do?
MARTHA
I do my reporting with a nice
coffee and hot bath at the end of
the day.
13.
DOROTHY
Some journalist you are.
MARTHA
Don't knock a woman for wanting her
luxuries.
DOROTHY
I don't want to stand still whilst
this war passes me by.
MARTHA
You don't have a choice.
DOROTHY
What if I do?
MARTHA
You don't.
DOROTHY
Are you repressing me?
MARTHA
Yes. And for your own good.
Concentrate on what's happening
here.
Martha's words deflate her.
DOROTHY
Maybe you're right.
MARTHA
I am right dear.
They pass another HANDSOME SOLDIER.
MARTHA (CONT'D)
Now, what about him?
They both chuckle.
Genres:
["Historical Drama","War"]
Ratings
Scene
4 -
Confrontation at the News Kiosk
EXT. NEWS KIOSK - DAY
The news kiosk holds an array of newspapers. Dorothy waits
patiently in line.
Just as she's about to be served, a sharp-suited middle-aged
BUSINESSMAN pushes in.
DOROTHY
Excuse me.
The businessman ignores her.
14.
DOROTHY (CONT'D)
Excuse me, sir.
The businessman turns - irritated.
DOROTHY (CONT'D)
You seem to have not noticed I was
in line.
BUSINESSMAN
I'm in a hurry.
DOROTHY
Yes, of course. I was here first
though.
BUSINESSMAN
And your point being?
DOROTHY
Well, it's not very gentlemanly of
you.
BUSINESSMAN
(To newspaper seller)
Financial Times.
(To Dorothy)
Why don't you run along home little
lady? Your incessant murmurings are
tiresome.
His arrogant smile leaves Dorothy furious.
DAYDREAM - The businessman's smile is slapped off his face.
Before he can speak, she slaps him again.
DOROTHY
Little lady? Say sorry!
Dorothy grabs him by the tie and slams him against the kiosk.
DOROTHY (CONT'D)
Say sorry!
A crowd watch on - applauding.
BUSINESSMAN
I'm sorry. I'm sorry.
She lets him go.
DOROTHY
Good boy.
The crowd cheer.
NEWSPAPER SELLER (O.S.)
Miss? Ello Miss?
15.
END OF DAYDREAM
NEWSPAPER SELLER (CONT'D)
You awake?
Embarrassed, she rushes away.
INT. DOROTHY'S APARTMENT. LIVING ROOM - NIGHT
Dorothy looks through the newspaper at pictures of soldiers
in the trenches and contemplates.
A tremor in her hand catches her of guard. She can't control
it, neither the build up of tears. She tosses the paper and
collects herself.
INT. THE TIMES. MR THOMAS' OFFICE - DAY
MR THOMAS, an ancient, red faced portly chief editor of The
Times, sits open mouthed.
Dorothy sits hopefully opposite.
MR THOMAS
You want to do what?
DOROTHY
War correspondence for The Times,
Mr Thomas.
Mr Thomas takes a moment to divulge.
MR THOMAS
But you're a woman.
DOROTHY
Yes, I realise I'm a woman, but
it's very important to me that the
war is covered correctly.
MR THOMAS
Just a moment.
Mr Thomas swings open the office door.
MR THOMAS (CONT'D)
Mr Collins, could you step into my
office.
MR COLLINS, walks in clutching a pile of newspapers. He's the
mirror image of Mr Thomas, in appearance and snobbery.
MR THOMAS (CONT'D)
Please tell Mr Collins what you
have just told me.
16.
DOROTHY
Well, as I was just saying, I feel
that the war needs covering
properly, so I was hoping that I
could be sent to report in France,
as a War Correspondent.
Mr Collins stands bewildered. His eyes meet with Mr Thomas,
causing uncontrollable laughter.
Dorothy slumps in embarrassment.
MR THOMAS
Did you hear that Mr Collins?
MR COLLINS
I certainly did Mr Thomas.
A war-correspondent! You're a
woman!
More heads pop up through the office window.
DAYDREAM - The laughter makes Dorothy's blood boil.
DOROTHY
QUIET!!!
Instant silence.
MR THOMAS
My sincerest apologies, Miss
Lawrence. Please continue.
DOROTHY
Thank you. Now as I was saying.
END OF DAYDREAM
Dorothy snaps back to reality.
Through the rude laughter...
DOROTHY (CONT'D)
...Please, just give me the barest
means of getting out there.
Permission to use the name of this
paper?
MR THOMAS
Nonsense!
DOROTHY
I don't want a big salary! Just
give me enough to get there. You
can leave the rest to me.
A more serious Mr Thomas stands and looms over her.
17.
MR THOMAS
Of course not!
DOROTHY
Very well. Thank you for your time.
My apologies.
Dorothy softly closes the door behind her.
Genres:
["Drama","Historical"]
Ratings
Scene
5 -
Dorothy's Frustrating Encounter
INT. WORLD WIDE MAGAZINE. MR NEWNES' OFFICE - DAY
MR NEWNES, an elderly stuffy man, sits crunched into his over-
sized chair with his mouth hung open.
Dorothy sits opposite, another rejection, imminent.
MR NEWNES
Do you suppose we're going to send
a woman, when even our own male war-
correspondents can't get out there
for love or money? You're mad!
DOROTHY
(Determined)
I am only asking for the smallest
of means to travel out and
permission to write the story.
Mr Newnes rudely carries on working.
MR NEWNES
Nonsense.
DOROTHY
But I'm good at what I do-
MR NEWNES
-Not in a million years.
INT. THE DAILY TELEGRAPH. MR SAGE'S OFFICE - DAY
MR SAGE, a balding, bloated man. His emotionless stare does
nothing for Dorothy's confidence.
MR SAGE
There a plenty of jobs a woman can
help with right here, in England.
Forget about going to France. Far
too dangerous for a lovely girl
like you.
DOROTHY
I am more than capable of looking
after myself Mr Sage.
18.
MR SAGE
Miss Lawrence, the simple matter of
the fact is, you're a woman.
DAYDREAM - The rage inside Dorothy ignites. She jumps over
the desk and cuts off his tie with a pair of scissors.
Mr Sage tries to escape but Dorothy throws him over the desk.
DOROTHY
Yes, I am a woman. A very capable
one at that!
Mr Sage cowers on the floor.
DOROTHY (CONT'D)
And if you or anyone else isn't
prepared to help me then, I'll see
what an ordinary English girl,
without credentials or money, can
accomplish. If male war-
correspondents can't get out there,
I'll see whether I cannot go one
better. I'll see what I can manage
on my own!
END OF DAYDREAM
Dorothy snaps out of her day dream as Mr Sage leers towards
her.
MR SAGE
Are you listening to me girl? I
said, you're a woman. A very
attractive one I may add.
Dorothy swiftly retreats out of the door.
END OF FLASHBACK
Genres:
["Historical Drama","War"]
Ratings
Scene
6 -
Changing Perspectives
INT. FRIERN HOSPITAL. VISITING ROOM - DAY
Both note books detail the story. Simon, now more engaged,
sharpens his pencil.
DOROTHY
Men had the final say with
everything. Terrible, but exciting
times there were. Change was
coming, but they called all the
shots.
SIMON
I think sometimes for men to be
placed in higher position is
crucial for...
19.
Dorothy and Mary stare dumbfounded by his stupidity.
SIMON (CONT'D)
...the benefit of a progressive
society. Women can
sometimes....be...
The penny drops and his words filter out to nothing.
SIMON (CONT'D)
...equal...to...men...which
include...jobs, money-
DOROTHY
-Simon.
SIMON
Yes, Miss Lawrence?
DOROTHY
Be quiet.
Simon shuts up.
MARY
So how did you get to France?
DOROTHY
I used my spirit of course.
EXT. GREAT PORTLAND STREET - FLASHBACK
Great Portland street is vibrate. Each shop is unique and
stylish. NURSES, CITIZENS and SOLDIERS enjoy their free time.
Dorothy and Martha stroll arm in arm.
MARTHA
You should have punched him.
DOROTHY
Some stern words on my part was
best practice I thought.
MARTHA
So what next?
DOROTHY
France.
Martha laughs off the comment.
MARTHA
You're funny. So I was thinking
that we could paint the town red
tonight. I met this Dutch officer.
(MORE)
20.
MARTHA (CONT'D)
He's got a friend. What do you
think?
DOROTHY
Even you don't listen to me.
MARTHA
I always listen to you. You said
France. I laughed. It was funny.
DOROTHY
It's not a joke Martha.
A dead pan stare lets Martha knows just how serious she is.
MARTHA
France?
DOROTHY
France.
MARTHA
Surely you're not serious?
DOROTHY
This is my serious face.
MARTHA
But, how...what are...surely you're
not serious?
DOROTHY
I've made up my mind Martha. You're
right, it is time to take a stand.
What have I got to lose?
MARTHA
Your life.
DOROTHY
You're so dramatic.
MARTHA
And for good reason. Dorothy,
France is a dangerous place,
especially for-
DOROTHY
-If you say for women, I will
surely scream.
MARTHA
Not just women. Everyone.
DOROTHY
You can either help me or not, it's
up to you.
21.
MARTHA
Dorothy, you're a puppy. Puppies
don't go to war. They stay home and
look cute.
DOROTHY
Maybe I don't want to be a puppy
anymore. Why can't I be a lion? Or
a...bigger lion?
Martha checks Dorothy's brow.
MARTHA
Are you running a temperature?
DOROTHY
You're worse than they are.
MARTHA
Well, you're acting like a mad
woman.
DOROTHY
(Abrupt)
Maybe I am. But, something needs to
change...in me. I'm scared of
everything. I don't want to be
scared anymore. The way we're
treated, scares me. We are ruled by
fear. Fear of saying something out
of line. Fear of believing in
ourselves. We need to create our
own stories, not rewrite the ones
written by men. I have been taken
advantage of my entire life, all of
us have. I want this adventure, I
want my own story.
Martha struggles to process as she lights up a cigarette and
paces.
MARTHA
You're insane, Dorothy, but If this
is what you want, then I will do
everything in my power to help you.
DOROTHY
Good, because I leave in two days.
Dorothy trots on leaving Martha gobsmacked.
MARTHA
Two days! Now you're scaring me.
22.
Genres:
["Historical Drama","War","Biographical"]
Ratings
Scene
7 -
Dorothy's Transformation and Confrontation
INT. DOROTHY'S APARTMENT. LIVING ROOM - DAY
A modest apartment, for a modest woman. Everything she owns,
is practical. Note books fill every available space.
A brown linen bag sits alone on the table.
MARTHA (CONT'D)
Is that it?
DOROTHY
I have to travel light.
MARTHA
You're going to look like a gypsy.
DOROTHY
I want to look like a gypsy.
MARTHA
Oh god.
DOROTHY
Read me the list again.
The list is tiny.
MARTHA
Two blankets. Two candles. Bread,
eggs, water, cocoa. Spirit stove.
One pot. One knife. One folk.
DOROTHY
Good. That will keep me going for a
few days.
MARTHA
And what will you wear?
INT. DOROTHY'S BEDROOM - LATER
Martha waits patiently on the bed.
In walks Dorothy wearing a untrimmed felt hat, an old, ugly,
long brown coat and a basic white dress wrapped with a belt
with clunky black boots poking out.
MARTHA (CONT'D)
Oh dear Lord.
DOROTHY
Well, what do you think?
MARTHA
You look like a farmer.
23.
DOROTHY
It's not that bad.
MARTHA
It's possibly one of the worst
things I've ever laid eyes on.
A fit of giggles follow.
DOROTHY
It will do the job just fine.
MARTHA
What now?
EXT. BIKE SHOP - DAY
A ramshackled second hand bicycle is propped outside the
shop.
MARTHA (CONT'D)
You can not be serious.
DOROTHY
This is perfect.
Dorothy enters the shop. A few moments later, she reappears
and takes the bicycle with her.
MARTHA
You can not be serious, Dorothy!
DOROTHY
Where's your sense of adventure?!
MARTHA
He's called Troy! A Canadian!
EXT. NEWSPAPER KIOSK - LATER
Dorothy fondly examines the bicycle in line at the kiosk.
MARTHA (CONT'D)
Do you even know how to ride a
bicycle?
DOROTHY
Yes...sort of.
MARTHA
You're going to look a state.
DOROTHY
It will get me to where I'm needing
to go.
24.
Just as they are about to be served, an UPPER-CLASS MAN
barges past them.
UPPER-CLASS MAN
(to newspaper seller)
Financial Times.
MARTHA
Excuse me-
DOROTHY
-What on earth do you think you are
doing?
Martha freezes, surprised by Dorothy's confidence.
The man turns and scoffs.
DOROTHY (CONT'D)
Do not ignore me.
Dorothy pushes the bicycle wheel against his leg.
UPPER-CLASS MAN
How dare you. Do you know how
expensive this suit was?
He turns back.
Dorothy rams the wheel harder this time. The man is
flabbergasted.
MARTHA
It's okay Dorothy.
UPPER-CLASS MAN
Listen to your friend. Show some
respect.
He collects the paper from the seller.
Dorothy hands the bicycle to Martha and snatches the paper
out of his hand.
UPPER-CLASS MAN (CONT'D)
How rude.
DOROTHY
Go to the back on the queue.
UPPER-CLASS MAN
Certainly not.
MARTHA
Let's go Dorothy.
Dorothy's stare burns into the man's soul.
25.
DOROTHY
Back of the queue.
MARTHA
Dorothy, what has gotten into you?
DAYDREAM - Dorothy's knuckles turn white. Her anger can't be
contained.
DOROTHY
This vile man that's what.
A small crowd of mostly women form.
UPPER-CLASS MAN
Someone call the police. I'll have
you arrested.
Dorothy erupts.
DOROTHY
Stop telling me what to do! What
gives you the right!
MARTHA
Dorothy, please.
Dorothy anger simmers on realises everyone is watching. She
hands the paper back.
DOROTHY
I'm so sorry.
She runs.
MARTHA
Dorothy!
Genres:
["Drama","Historical"]
Ratings
Scene
8 -
A Conversation in the Dark
INT. DOROTHY'S BEDROOM - NIGHT
Dorothy and Martha lie side by side.
MARTHA (CONT'D)
I'm worried about you.
DOROTHY
I shouldn't have done that. It was
stupid of me.
MARTHA
It was a tad out of character.
DOROTHY
It didn't feel real, like I was
watching from above. I couldn't
control it.
26.
MARTHA
It's done now. Forget about it.
DOROTHY
I had another episode the other
night. It came out of nowhere.
MARTHA
You're under a lot of pressure at
the moment. Shedding a few tears is
normal.
DOROTHY
What about the other times? All
those tears before?
MARTHA
You're allowed to be sad sometimes.
I get sad. We all get sad.
DOROTHY
What if you're sad all the time?
MARTHA
That certainly isn't you. Look,
sometimes you cry. Sometimes I cry.
It's normal.
DOROTHY
What if something bad happens to
me?
MARTHA
Remember to punch first and think
later.
Martha gives her a comforting squeeze.
MARTHA (CONT'D)
I'm always here. Nothing bad is
going to happen.
DOROTHY
Anyway, I have my passport and
documents, so if I were to be
arrested, or God forbid, killed-
MARTHA
-Dorothy!
DOROTHY
Then, they will know who I am.
MARTHA
You're braver than I am.
Dorothy toasts.
27.
DOROTHY
To France!
Martha follows suit.
MARTHA
To France!
DOROTHY
To the first female war-
correspondent of the war!
Dorothy closes her eyes.
Genres:
["Historical Drama","War","Biographical"]
Ratings
Scene
9 -
Dorothy Arrives in Creil
EXT. FRANCE. CREIL COUNTRYSIDE - DAY
Dorothy's eyes flutter open. The vast, undulating road of
Creil's countryside stretches endlessly before her.
The gentle warmth of the sun caresses her skin, a small joy
amidst uncertainty.
SUPER: FRANCE - CREIL - JUNE 1915 - 20 MILES FROM THE FRONT-
LINE
Her bicycle, overloaded and unsteady, jostles and rattles
across the uneven cobblestones. Losing control, it veers
sharply, tumbling her into a roadside ditch. Dorothy hits
the ground hard, a cloud of dust billowing around her.
DOROTHY
Oh blast.
Brushing herself off, Dorothy quickly checks her belongings
and steadies her parcel.
The silence is abruptly shattered by the distant rat-a-tat of
a Mitrailleuse machine gun — rapid bursts cutting through the
air like impatient knocks on a wooden door.
Her hands tremble as she reaches for her pen, the echo of
gunfire resonating as she writes.
EXT. THE TOWN OF CREIL - DAY
The main town centre of Creil. Cafes, markets, shops and
manufacturing buildings with smoking chimneys, yet untouched
by war.
SUPER: THE TOWN OF CREIL - FRENCH BASE CAMP
Dorothy admires the scenery.
On turning a corner, the true art of war is revealed. Ruined
homes with gaping holes. Bullet and shell marks, scorch the
road.
28.
Unusually, the buildings on the opposite side of the street
are unscathed. No scorch, no bullet-marks. Shops open for
business.
FRENCH SOLDIERS in their miss matched uniforms, smoke, drink
and laugh at the cafe's outdoor tables. Dorothy approaches,
catching soldiers off-guard.
DOROTHY (CONT'D
(In French; subtitled)
Hello.
A young dashing French soldier, ANTOINE, makes room for her.
His flirtatious examination of her is obvious, yet harmless.
He's tanned skin, tangled with specks of dry mud, give him
the ruggedness of an alpha male.
ANTOINE
(In French;subtitled)
Hello! Would you like a coffee?
Not fully understanding, she takes a seat.
DOROTHY
(In French;subtitled)
Oh, thank you.
ANTOINE
(In French;subtitled)
English?
DOROTHY
That's right, from London. Dorothy
Lawrence.
ANTOINE
Antoine.
DOROTHY
Does this cafe accommodate?
ANTOINE
It does.
DOROTHY
Wonderful.
With his devilish cheeky smile, he pours her a hot coffee.
Oppposite, cigarette smoke pours from the thick, rough lips
of YOUSSEF. Behind his small round spectacles, his deep eyes
tell tales of horror.
YOUSSEF
(In French;subtitled)
Maybe she's a German spy?
Dorothy doesn't understand.
29.
ANTOINE
(In French;subtitled-to
Youssef)
The German girls don't smell like
the English.
The soldiers laugh.
Youssef's uneasy stare, scrutinises every inch Dorothy's
awkwardness.
DOROTHY
(To Antoine)
Is your friend alright? Why is he
staring so forcefully?
ANTOINE
(In French;subtitled)
Youssef, she asks why you stare at
her like a savage.
YOUSSEF
(In French;subtitled)
I look because it is so strange to
see a female so far from home.
Suspicious no?
ANTOINE
(In French;subtitled)
Suspicious or not. It makes a
change from looking at your
monstrous face.
The mocking is taken in jest.
YOUSSEF
(In French;subtitled)
I don't trust the English. Give me
a French girl any day.
ANTOINE
(To Dorothy)
He stares because he has never seen
a woman so beautiful in all his
life. He loves English girls.
DOROTHY
Looking like this? I beg to differ,
but thank you.
Youssef smirks.
ANTOINE
Tell me, what is a petite English
girl doing out here, alone, on a
bicycle?
The soldiers wait in anticipation.
30.
DOROTHY
Well, I'm a journalist. I want to
report on the war.
YOUSSEF
But you are a woman no?
DOROTHY
You speak English?
YOUSSEF
As well as Antoine here. Better
looking too.
He's not and he knows it.
YOUSSEF (CONT'D)
My name is Youssef. Tell me
Dorothy, are you not scared?
DOROTHY
Scared of what?
YOUSSEF
Dying.
DOROTHY
Well, I don't intend to die.
YOUSSEF
None of my friends intended to die.
The Germans on the other hand,
proved them wrong.
ANTOINE
I apologise for my black cloud of a
friend. He's just upset. His face,
too ugly to shoot at.
The soldiers laugh. Jokes about killing are not to Dorothy's
taste, but smiles nonetheless.
Genres:
["Historical Drama","War"]
Ratings
Scene
10 -
Defending Dorothy
EXT. CAFE - LATER
The group of French soldiers sing drunken songs as Dorothy
claps along. Even the distant clatters of machine gun fire
doesn't dampen their spirits.
INT. CAFE. BEDROOM - NIGHT
Dorothy is asleep, but wakes from noises coming from the
street below. The bedroom window makes a good spying
position.
31.
FRENCH SOLDIERS march down the street and load onto the back
of wagons. Dorothy grabs her notepad and jots down the
action.
Antoine marches with the group. A sadness clouds over her.
The shakes in her hands, unwelcome.
EXT. CAFE - DAY
Dorothy sips her coffee, basking in the atmosphere as the
mud-covered soldiers march back into town. She waves,
searching for Antoine. Finally, he emerges, weary but alive.
As he passes by, he pulls a playful face at Dorothy,
instantly sending flutters through her.
EXT. CAFE - NIGHT
Antoine and the rest of the now familiar French soldiers,
occupy the café tables listening to Dorothy confidentially
telling a story.
DOROTHY
So I stood up and I said 'And if
you or anyone else isn't prepared
to help me then, I'll see what an
ordinary English girl can
accomplish!'.
The gang applaud with shouts of 'Bravo'.
From the next table, a group of drunk FRENCH SOLDIERS
mockingly applaud. One of them, EDGAR, an unpleasant wisp of
a man staggers towards them, knocking over their drinks in
the process.
EDGAR
(In French;subtitled)
So sorry. Let me buy you another
round.
Antoine is immediately irritated.
ANTOINE
Edgar. No need. Have a good
evening.
Edgar eye-balls Dorothy, making her recoil.
EDGAR
(To Dorothy)
Hey! Edgar.
Dorothy plays along.
DOROTHY
Hello. Dorothy.
32.
His menacing stare make her look away.
EDGAR
Come have a drink with us.
ANTOINE
She's fine with us. Go back to your
table, forget about the drinks.
EDGAR
(In French;subtitled)
When you've finished with her, I
want a turn.
Like two guard dogs, Antoine and Youssef confront him.
YOUSSEF
(In French;subtitled)
If I were you, I would go sit back
down, or are you already sitting?
The protective group hurl with laughter.
EDGAR
(In French;subtitled)
Very good Youssef, you win. I will
go.
(To Dorothy)
Good night Dorothy. Who knows,
maybe you'll change your mind.
Edgar and his group fall away. Calm is restored.
ANTOINE
Ignore him. He's what the French
call, a wet chicken.
YOUSSEF
Coward.
Genres:
["Drama","Historical","War"]
Ratings
Scene
11 -
Masquerade in the Barracks
EXT. MAIN STREET. BARRACKS - NIGHT
The barracks are still until Antoine, Youssef and Dorothy
drunkenly fall through the door in fits of laughter.
ANTOINE
Come. Let me show you.
The three crawl on their knees towards the uniform pantry.
IN THE PANTRY
miss matched uniforms adorn the wall.
YOUSSEF
You'll make a better soldier than
Edgar.
33.
He throws a khaki jacket around her and an helmet. Dorothy
marches around as the men laugh hysterically. She aims a fake
rifle at them.
DOROTHY
Don't move. Show me your papers.
The men throw up their hands.
ANTOINE
Please, don't shoot.
YOUSSEF
Or just shoot him. I have much to
live for.
The drink and laughter are too heavy to hold her up.
A siren blares out.
ANTOINE
(In French;subtitled)
Shit.
DOROTHY
What is that?
YOUSSEF
A call for the trenches.
Antoine throws her under a bunk and squeezes up next to her.
Youssef drags himself under the opposite bunk just as the
door bursts open, followed by floods of soldiers who quickly
change.
UNDER THE BUNK
Antoine holds his hand over Dorothy's giggling mouth.
As quick as they arrived, the soldiers are gone.
ANTOINE
(To Dorothy)
Are you okay?
Antoine carefully moves Dorothy's hair from her face.
ANTOINE (CONT'D) (CONT'D)
I would like to stay under this
bunk forever.
DOROTHY
...That would be lovely.
ANTOINE
...I like you Dorothy.
34.
Antoine lovingly stares into her eyes. Before the kiss, he is
dragged out by his legs by a laughing Youssef.
YOUSSEF
That was close. We better get back.
Youssef helps Dorothy up and removes her uniform.
YOUSSEF (CONT'D)
You would make a good soldier, Miss
Lawrence.
DOROTHY
A female soldier, imagine the
uproar.
Genres:
["Drama","War","Historical"]
Ratings
Scene
12 -
Rescuing Dorothy
EXT. MAIN STREET - MOMENTS LATER
The last of the wagons disappear out of sight. Antoine,
Youssef and Dorothy emerge from the shadows.
ANTOINE
Would you like me to walk you back?
DOROTHY
That won't be necessary, but thank
you.
YOUSSEF
Sleep well.
Antoine give Dorothy a loving smile.
ANTOINE
Sleep well.
The boys jog away. Dorothy lets out a smile.
The silence is peaceful as she walks back to the cafe.
Edgar rounds the corner with Two other SOLDIERS.
EDGAR
This must be my lucky night.
Dorothy Picks up the pace.
EDGAR (CONT'D) (CONT'D)
You in a hurry?
DOROTHY
I need to get back, it's very late.
Edgar rushes to block her path.
EDGAR
Too late for a drink?
35.
DOROTHY
I'm afraid so. Excuse me.
Like a predator toying with his prey, Edgar stands his
ground.
EDGAR
Me and my friends would like
company. Antoine won't mind.
Dorothy tries to run but is grabbed.
EDGAR (CONT'D) (CONT'D)
You English girls think you're so
special. I'm special too. Let me
show you.
Edgar strokes her cheek as tears swell in her eyes.
EDGAR (CONT'D) (CONT'D)
I'll be gentle. I promise.
He begins to unbutton his trousers as Antoine and Youssef
smash the two soldiers over the head, knocking them out.
Edgar runs and Youssef gives chase.
ANTOINE
Dorothy, are you alright?
Dorothy throws her arms round him.
ANTOINE (CONT'D) (CONT'D)
You're safe now. It's okay.
They walk to the café.
Genres:
["Drama","Historical","War"]
Ratings
Scene
13 -
Trauma and Resilience After the Attack
INT. DOROTHY'S BEDROOM - LATER
Dorothy is fast asleep. Antoine rests beside her, stroking
her hair. He kisses her forehead and leaves.
EXT. CAFÉ - DAY
The pencil vibrates in Dorothy's hand. The tremors, now more
frequent. Unreadable squiggles flood the page.
ANTOINE(O.S)
You writing about me?
She slams the notebook shut.
DOROTHY
Just my article.
Antoine reaches for the notebook.
36.
ANTOINE
May I read?
Dorothy quickly throws it in her bag.
DOROTHY
I'd rather you didn't.
Dorothy stares at her quivering hand, preying for it to stop.
ANTOINE
Don't let what happened last night
bring you down. Edgar was dealt
with. It won't happen again.
DOROTHY
I was so scared. I just froze. They
were going to hurt me and I just
froze.
ANTOINE
Anyone in that situation would have
done the same.
DOROTHY
That can't happen again. Not here.
Not ever.
ANTOINE
In those situations, you do
whatever you need to do to get
away.
Antoine slides a beautifully engraved flick knife across the
table.
ANTOINE (CONT'D)
Whatever you need to do.
Dorothy straight away understands and places it in her bag.
DOROTHY
That is the last time I will ever
be helpless. No more puppy.
EXT. CAFÉ - NIGHT
The gang are back together. Drinks flow. Chatter all around.
Dorothy rests her notebook on her lap. Poised for answers.
DOROTHY (CONT'D)
What is it like?
YOUSSEF
What is what like?
37.
DOROTHY
The trenches?
YOUSSEF
You don't want to know.
DOROTHY
Yes I do. What better way of
finding out than by getting first
hand accounts. It's important. For
my article.
The men share a guarded look.
ANTOINE
Let us talk of something different.
No trench talk.
DOROTHY
Well someone say something at
least.
YOUSSEF
You want to know about the
trenches. Okay.
The atmosphere turns. The soldiers minds drift elsewhere.
YOUSSEF (CONT'D)
Have you ever had a nightmare that
was so real, that when you woke,
you could still sense the danger?
It is much more than that. A
thousand nightmares more. Take all
of your fears, in fact, take
everyone's fears, drop them into an
endless black hole of death, and
you might come close.
ANTOINE
War is no good for anyone. It
effects the mind worse. Some of our
injuries are not visible. Even out
of the trenches, the nightmare
stays with you.
YOUSSEF
Maybe we could swap places Dorothy?
I write, you shoot?
They all laugh.
ANTOINE
Dorothy, will you walk with me.
Dorothy takes his hand. A couple of wolf whistles makes
Dorothy blush.
38.
Genres:
["Drama","War"]
Ratings
Scene
14 -
A Nighttime Conversation
EXT. MAIN STREET - NIGHT
The clear night sky illuminates the stars.
ANTOINE (CONT'D)
Beautiful no?
DOROTHY
Very beautiful.
ANTOINE
Why are you here Dorothy?
DOROTHY
I've told you. To report on the
war.
ANTOINE
Why are you putting yourself in
danger?
DOROTHY
You do it.
ANTOINE
I have to do it. You have a choice.
DOROTHY
I want to prove to myself that I
can do anything.
ANTOINE
Anything that a man can do?
DOROTHY
Maybe.
ANTOINE
Men are foolish creatures. We do
stupid things. Look at this war.
Made by man and for what? No
reason. A woman would never start a
war.
DOROTHY
You should meet my friend Martha.
ANTOINE
Go home Dorothy.
His words stop her in her tracks.
DOROTHY
I can't go home, not until-
ANTOINE
-Not until what?
39.
A long pause. She doesn't have an answer.
ANTOINE (CONT'D) (CONT'D)
You're a very special woman Dorothy
Lawrence. You may not realise it
yet, but you will.
Antoine loving stare melts her fears away.
DAYDREAM - THE KISS is powerful. Romantic. All that is
missing are fireworks.
IN THE BEDROOM - they make love. Passionate. Loving. A deep
connection.
IN THE MORNING - the two lovers lie in silence. In love.
END OF DAYDREAM
The shrill of a siren snaps her back to reality and the kiss
never got to be.
ANTOINE (CONT'D)
Looks like the trenches are
calling.
Antoine leaves. Turning to blow her a kiss.
DOROTHY
Be careful Antoine!
ANTOINE
I'm always careful.
Genres:
["Drama","Romance","War"]
Ratings
Scene
15 -
Mourning and Loss
INT. CAFÉ. BEDROOM - NIGHT
Dorothy stares out of the bedroom window as she writes in her
notebook. Her heart, full of romance.
EXT. CAFÉ - DAY
Dorothy writes at the café table. The occasionally look down
the road. All quiet.
EXT. MARKET STREET - NIGHT
Dorothy is pacing the street - anxious.
INT. CAFÉ. BEDROOM - DAY
Dorothy is woken by the sound of marching soldiers - they're
back! She springs towards the window.
40.
EXT. CAFÉ - DAY
Dorothy watches the soldiers march closer - far fewer then
before.
The soldiers, now empty shells. Some injured. Some dead.
Dorothy frantically searches up and down the line.
DOROTHY
Antoine!
Youssef limps into view.
DOROTHY (CONT'D)
Youssef!
Youssef can't bring himself to look at her.
DOROTHY (CONT'D)
Youssef, what happened? Where's
Antoine.
Youssef struggles to speak.
DOROTHY (CONT'D)
Where is he?
YOUSSEF
...He's gone. His nightmare is
over.
His words make her head spin. Before she passes out, Youssef
consoles her.
YOUSSEF (CONT'D)
I'm so sorry.
Youssef limps on. She's left in limbo. Numb.
INT. DOROTHY'S BEDROOM - NIGHT
The bedroom walls close in like a prison. Dorothy's tears,
uncontrollable. Unforgiving. A ruthless attack on all the
senses.
EXT. CAFÉ - DAY
Dorothy's overwhelming sadness, stuck to her like glue. Her
fingers float over Antoine's flick knife.
EXT. CREIN COUNTRYSIDE - DAY
Dorothy cycles away from Crein - forever damaged.
41.
EXT. SENLIS COUNTRYSIDE - LATER
On the outskirts of Senlis, Dorothy lies still in the tall
grass.
A CHILD carrying delicate harebells stands watching.
CHILD
(In French;subtitled)
Why are you sad?
Dorothy can't bare to look up.
DOROTHY
(In French;subtitled)
Why are you not? There's nothing
but sadness here.
The child places a single harebell in Dorothy's hand.
END OF FLASHBACK
INT. VISITING ROOM - DAY
The painful memory is felt by everyone. Dorothy stares
blankly out of the window as Mary wipes a tear away. Simon
does his best to hide his true emotions.
MARY
...You don't mention Antoine in
your book.
DOROTHY
At first I did. I wrote about us
because I needed to be close to
him. Even the short time we spent
together meant so much. I removed
him because I didn't want people,
men mainly, saying that they were
right. That I did need a man to
look after me.
MARY
I'm sorry.
DOROTHY
Just because he's not written down
in words, doesn't mean I've
forgotten him. He's always with me.
SIMON
Didn't you feel like giving up
after that? I don't think I would
be able to carry on.
42.
DOROTHY
I had proven nothing by this point.
I needed to carry on.
Genres:
["Drama","War"]
Ratings
Scene
16 -
Aftermath in Senlis
EXT. THE TOWN OF SENLIS - FLASHBACK
The agricultural district of Senlis bear the hallmarks of war
with bricks and mortar scattered about.
Shattered buildings down one side of the street, but like
Crein, the opposite side of the street still contains,
business, shops and lives in full swing.
SUPER: THE TOWN OF SENLIS - 10 MILES FROM THE FRONT-LINE
Dorothy cycles towards a heap of bricks with dust splattered
pots, pans and tin kettles poking out.
FURTHER UP THE ROAD
lies Senlis train station - half standing, half destroyed. To
Dorothy's surprise, a train pulls in and PASSENGERS come and
go.
A frail, OLD MAN shuffles close. His suitcase, suit and hat,
covered with touches of brick dust.
DOROTHY (CONT'D)
(In French;subtitled)
Excuse me sir, do you live in
Senlis?
The old man shrugs.
OLD MAN
(In French;subtitled)
Not anymore, Miss.
DOROTHY
(In French;subtitled)
Do you speak English?
OLD MAN
Of course, Miss.
DOROTHY
What happened here?
OLD MAN
The Germans marched through and
poof. We didn't have much to offer
them, so they did what you see.
The devastation too much to ignore.
OLD MAN (CONT'D)
Come.
43.
FURTHER UP THE ROAD
a semi-demolished cottage. Sticking out amongst the heap, an
iron leg of a rusted bedstead.
OLD MAN (CONT'D)
You see that bed?
Dorothy fearfully nods.
OLD MAN (CONT'D)
They roasted alive a bedridden old
woman, after pouring kerosene oil
upon her and her cottage.
DOROTHY
Goodness. Did you know her?
OLD MAN
Yes. Her name was Ismay. She was my
wife.
His sadness mirrors Dorothy's.
OLD MAN (CONT'D)
She was the strongest person I have
ever met. A woman of grace and a
spirit of a queen.
Unwelcome tears fill Dorothy's eyes.
OLD MAN (CONT'D)
You can let them out. Locking your
heartbreak away will only cause you
more sorrow.
Dorothy manages to contain her emotions, but the pain
reflects in her face.
OLD MAN (CONT'D)
Sweet child. This is but a moment
in time. The pain you feel,
temporary. It's the good memories
that eventually heal us.
In his suitcase is a colourful collection of flowers. He lays
them to rest on the rubble.
OLD MAN (CONT'D) (CONT'D)
(In French;subtitled)
I'll see you again tomorrow, Ismay.
Sleep tight.
His thoughts turn back to Dorothy
OLD MAN (CONT'D)
We need never be ashamed of our
tears.
44.
Genres:
["Historical Drama","War"]
Ratings
Scene
17 -
Encounter in Senlis
EXT. THE TOWN OF SENLIS - LATER
Along the road is rows upon rows of plain wooden crosses with
the simple scrawling of 'To an unknown soldier' rendered on
them. Dorothy observes them with admiration.
A serious, cigar chewing FRENCH GENDARME OFFICIAL, monitors
Dorothy's movement. He's suspicious and decides to confront
her.
Dorothy panics and tries to clamber onto her bike, but her
package slips, unbalancing her and she hits the ground.
FRENCH GENDARME
(In French;subtitled)
Stop!
The French Gendarme grabs her.
FRENCH GENDARME (CONT'D)
(In French;subtitled)
Madame, what do you think you are
doing?
DOROTHY
I don't understand. English?
FRENCH GENDARME
(In French;subtitled)
You will come with me.
He marches her away.
INT. SENLIS POLICE STATION. CELL - DAY
The cell - medieval in appearance and comfort. The echo from
Dorothy's calls bounce away into nothing.
DOROTHY
(In French;subtitled)
I am a journal...a war
correspondent, from England. My
name is Dorothy Lawrence! My
passport and papers will prove
that! Hello!
The French Gendarme strolls up the corridor, documents in
hand. His authority reeks of delusions of grandeur. Would be
better placed in a death camp.
FRENCH GENDARME
Miss Lawrence. Why are you in
Senlis?
DOROTHY
I am a war-correspondent for a well
known British newspaper.
(MORE)
45.
DOROTHY (CONT'D)
You have my passport and my sauf-
conduit which allows-
FRENCH GENDARME
-Your sauf-conduit has expired.
Tell me, are these British
newspapers so desperate that they
have to send a woman to do the work
of a man?
Dorothy angrily considers the question.
DOROTHY
I can report on this war better
then any man.
He scoffs.
FRENCH GENDARME
Don't be foolish. Women have no
place here. Maybe the British will
send female soldiers next? You
women need to stick to the things
you are good at.
DOROTHY
And what do you think that is?
FRENCH GENDARME
Well, bearing children of course.
Pleasing their husbands. Some women
are good at making love. A word of
advice, find yourself a husband my
dear.
He arrogantly laughs and saunters away.
Genres:
["Drama","Historical"]
Ratings
Scene
18 -
The Encounter at the River's Edge
EXT. THE TOWN OF SENLIS. BORDER - DAY
The French Gendarme hands over her documents.
FRENCH GENDARME (CONT'D)
Don't come back to Senlis.
Dorothy's dour expression gives him her answer.
FRENCH GENDARME (CONT'D)
And remember, leave this sort of
work to men. You go and make the
home nice.
Turning back.
DOROTHY
As long as there is breath in my
lungs, I will never rely on any
man.
46.
ON THE DIRT ROAD
a few hundred meters from the border, Dorothy takes in her
surrounds. Something dawns on her as she spies the woods.
THE WOODS
dark. Unwelcoming. Silent, apart from the wheels of the
bicycle rolling over tangled undergrowth. Exhausted, she sets
up camp. Eggs boil over sounds of heavy distant booms renting
the air.
Her leafy bed - uncomfortably. Rats and a chorus of wildlife
makes it unbearable to sleep. The cold sets in. The thin
blanket doesn't protect her from the harshness of the
freezing air.
EXT. SENLIS. WOODS - DAY
Dorothy emerges from the woods, in need of a wash. A river
cuts between open field where WORKERS guide machines over the
rich lands.
AT THE RIVER
Dorothy looks for a place to bath. On undressing, she
realises a young, reflective FRENCH OFFICER is fishing close
by. The bathing will have to wait.
DOROTHY (CONT'D)
(In French;subtitled)
Caught anything?
Startled by her sudden appearance.
FRENCH OFFICER
(In French;subtitled)
No. But, it's fine. Are you French?
DOROTHY
English.
FRENCH OFFICER
Far from home no?
DOROTHY
Slightly. You?
FRENCH OFFICER
I come from Bordeaux, but it is
nice here.
DOROTHY
War is nice to you.
47.
FRENCH OFFICER
The views are nice, peaceful. The
war, not so much.
He hands her a fishing rod and she casts.
DOROTHY
I'm trying to get to the front-
line.
FRENCH OFFICER
Why?
DOROTHY
I'm a war...It's for a story I want
to write.
FRENCH OFFICER
Most men want to run away from the
front, but you want to run to it.
DOROTHY
I've come so far, I need to at
least see it.
He understands.
FRENCH OFFICER
...Why so sad?
DOROTHY
How do you know I'm sad?
FRENCH OFFICER
Your eyes. A valley of sadness.
DOROTHY
I lost someone. Someone special.
FRENCH OFFICER
I know the feeling. Many friends,
lost to this madness.
His words, resonate deep.
FRENCH OFFICER (CONT'D)
There's a deeper sadness. You hide
it well, but...your eyes, tell the
truth. Maybe that is why you are
here. Who knows.
His words hit a deep chord.
DOROTHY
How can I get to the front?
48.
FRENCH OFFICER
The bad news for you is that two
miles in that direction are guards
and blocks. You will never get
through.
DOROTHY
What about through the woods?
FRENCH OFFICER
More guards, more blocks. You
either need to be a soldier, or a
magician to get through.
Another disheartening set back.
FRENCH OFFICER (CONT'D)
What will you do?
DOROTHY
Become a magician I guess. Either
that or give up and go home.
FRENCH SOLDIER
Why give up?
DOROTHY
Blocks in every direction.
FRENCH SOLDIER
Don't let a few blocks stand in
your way. A few blocks are easy to
move...a wall, not so much. Who
knows, if you succeed, it may help
bring down your wall.
He offers her an hopeful smile.
Genres:
["Drama","War","Historical"]
Ratings
Scene
19 -
A Soldier's Request
EXT. PARIS. CHAMPS-ELYSÉES AVENUE/BOULEVARDS - DAY/NIGHT
Dorothy walks through the hustle and bustle of Paris life.
SUPER: PARIS - TWO WEEKS LATER - 101 MILES FROM THE FRONT-
LINE
Dorothy writes. Filling note pad after note pad.
In the light of day, she embraces every inch of Paris. By
night, bouts of depression, plagued by the memory of Antoine.
EXT. PARIS RAILWAY STATION. CAFÉ - DAY
The railway station, a constant hive of activity.
Two lonesome, fresh faced KHAKI SOLDIERS, on an adjacent
table, catch Dorothy's eye.
49.
DOROTHY
They'll do.
With a new found confidence, she approaches.
DOROTHY (CONT'D)
Hello boys.
The older soldier, PRIVATE PETERS, smiles through his over-
grown moustache. His eyes welcoming, still untouched by war.
He has a thick Yorkshire accent.
PETERS
Ello Miss.
Dorothy sticks out her hand.
DOROTHY
Dorothy Lawrence. War-
Correspondent.
Peters shakes it.
PETERS
Nice to hear a voice from back
home. I'm Peters, he's Philips.
PRIVATE PHILIPS, younger of the two. Very boyish. Fresh off
his mothers breast.
Dorothy pours herself a coffee. Peters grins, amused by her
audacity.
EXT. PARIS RAILWAY STATION. CAFÉ - LATER
Dorothy, Peters and Philips take comfort in each others
company.
DOROTHY
So, this may sounds strange boys,
but you seem decent enough to help
me.
PETERS
We all need help here love.
DOROTHY
Mine is a, how can I put it? A
secret kind of help.
PHILIPS
We're not killing anyone.
PETERS
Not yet anyhow lad.
50.
DOROTHY
That's absurd. No killing.
She grows nervous. Then,
DOROTHY (CONT'D)
I want to get out to the front...as
a soldier.
Silent disbelief.
PETERS
Say what love?
DOROTHY
I want you boys to help me get out
to the front...as a soldier.
PHILIPS
Are you sure you don't want anyone
killing? Might be easier.
Peters and Philips exchange a smirk.
PETERS
Yer can't be serious.
DOROTHY
I'm deadly serious.
Peters, not sure if she's joking.
PETERS
You do realise you're a lassy.
DOROTHY
A lassy?
PETERS
A girl.
DOROTHY
Yes, I'm quite aware of that.
PHILIPS
Girls can't be soldiers.
DOROTHY
Who says?
PHILIPS
The British army.
DOROTHY
The British army is filled with
ancient men in charge. Men stuck in
their ways. Tell me, are you boys
stuck in your ways?
51.
Peters and Philips share a baffled look.
DOROTHY (CONT'D)
I will guarantee that your
identities will remain a secret.
Peters hesitates, then...
PETERS
...I don't know what yer want us to
do. We can't smuggle yer in.
DOROTHY
I can do that part on my own. All I
need from you is uniform.
No one speaks. Peters thinks as he strokes his moustache.
PETERS
Alright, you're on.
PHILIPS
What?
PETERS
Button it lad.
PHILIPS
We could get in serious trouble for
this.
PETERS
Ey, and in a weeks time, we might
be dead in a ditch. Life is strange
lad. If we can help Dorothy here,
then why thee hell not.
DOROTHY
Why thee hell not indeed.
PHILIPS
Bloody hell.
Philips sighs then...
PHILIPS (CONT'D)
...Why the hell not.
Dorothy lifts her coffee cup and toasts.
Genres:
["Drama","War","Historical"]
Ratings
Scene
20 -
The Exchange
EXT. PARIS. BOULEVARD - DAY
A busy Parisian boulevard. Dorothy marches ahead. Peters and
Philips almost jogging to keep up.
52.
DOROTHY
Now the uniform must consist of; a
jacket, badge, cap, puttees, shirt
and boots.
Dorothy turns to Philips.
DOROTHY (CONT'D)
You taking this down Philips?
Philips grimaces as he pulls out a notepad. Dorothy marches
on.
DOROTHY (CONT'D)
And as a token of my gratitude, I
will show you around Paris.
Parisians pride themselves on their
hospitality.
PHILIPS
How exciting.
DOROTHY
Put your tongue back in Philips.
Peters conceals his amusement. Dorothy halts again.
DOROTHY (CONT'D)
How is this outfit to change hands
without arousing suspicion?
PETERS
Let them think it is out washing.
Every night, we'll wrap it up and
hand it over.
DOROTHY
Wonderful. That'll work. We'll
begin tonight.
EXT. RUE DE RIVOLI - NIGHT
Paris at night. Alive. Music. Celebratory. The war, a distant
thought. Passing DRUNK SOLDIERS sing songs. FRENCH WOMEN walk
hand in hand with new lovers.
Dorothy hides under the shadows of one of the many boulevard
trees. Through the crowds, Peters emerges. A brown package
tucked under his arm.
PETERS
Boots.
Peters hands the package over. Like a perfectly timed dance,
they part ways.
53.
INT. PARIS HOTEL. RECEPTION - NIGHT
The reception of the hotel is olde worlde. An elderly tiny
french couple, MR & MRS BAILLY, stand behind the reception
desk - bickering.
Dorothy strides past them.
DOROTHY
(In French;subtitled)
Good evening.
MR & MRS BAILLY
(In French;subtitled)
Good evening.
The bickering continues.
INT. PARIS HOTEL. BEDROOM - NIGHT
The boots are slightly too big, but manageable. The full
length mirror allows Dorothy to examine herself. She marches
around her room. It takes her back to the night in the
barracks.
EXT. RUE DE RIVOLI - NIGHT
Dorothy waits under the same tree. Philips appears. Hands
over a brown package.
PHILIPS
Trousers.
They part ways.
INT. PARIS HOTEL. RECEPTION - NIGHT
Dorothy walks into the reception, greeted by Mr & Mrs Bailly.
DOROTHY
(In French;subtitled)
Good evening.
MR & MRS BAILLY
(In French;subtitled)
Good evening.
INT. PARIS HOTEL. BEDROOM - NIGHT
Dorothy struggles with the buttons on the small sized
trousers. The braces tangle and spring off the loops. She
jumps, jerks, until at last, the trousers are on...some what.
54.
EXT. RUE DE RIVOLI - NIGHT
Dorothy waits, smoking a cigarette under the tree. Peters
approaches. One last package.
PETERS
That's everything Dorothy.
DOROTHY
Wonderful. Tomorrow night we
celebrate.
They part ways.
INT. PARIS HOTEL. RECEPTION - NIGHT
Dorothy walks into the reception, greeted by Mr & Mrs Bailly.
Their smiles, now more suspicious.
DOROTHY (CONT'D)
(In French;subtitled)
Good evening.
MR & MRS BAILLY
(In French;subtitled)
Good evening.
INT. PARIS HOTEL. BEDROOM - NIGHT
The full soldier attire transforms her. Some tweaking needed -
her buxom breasts, a dead give away.
Swathes of bandages compact her womanly figure. Cotton wool
pads her out. The mirror reflects her amazing work. She looks
the part, almost.
EXT. PARISIAN CAFÉ - NIGHT
Dorothy sips on her wine feeling more comfortable in her
civilian clothing.
Peters and Philips, merrily enjoy the nightlife.
DOROTHY
I don't think I can thank you boys
enough for what you've done.
PETERS
We don't mind helping yer, Kiddy.
You'll never get near enough to be
in danger anyway.
DOROTHY
Is that so?
55.
PETERS
I know so.
Dorothy raises her glass and cheers.
British OFFICER MAXWELL (40's) wades through the crowd. His
young Parisian date, ZURI, hooked under his arm.
OFFICER MAXWELL
Evening Peters. Philips.
PETERS/PHILIPS
Sir.
Maxwell uninvited, takes a seat. Zuri is left standing.
OFFICER MAXWELL
So, who is your lady friend Peters?
PETERS
This is Dorothy Lawrence.
Maxwell, takes a disinterested glance.
OFFICER MAXWELL
(To Peters)
So where did you meet her?
Dorothy polity takes a chair from the next table and offers
it to Zuri sit, which she accepts.
DOROTHY
(To Zuri)
I'm Dorothy. What is your name?
Zuri turns to Maxwell for approval. He begrudgingly nods.
ZURI
Zuri.
DOROTHY
Zuri? What a wonderful name.
OFFICER MAXWELL
(To Peters)
So, as I was saying, where did you
meet her?
The wine has given Dorothy a boost in courage.
DOROTHY
Why don't you ask me yourself?
Maxwell is taken back.
OFFICER MAXWELL
Excuse me?
56.
DOROTHY
I said, why don't you ask me
yourself?
Maxwell scoffs.
DOROTHY (CONT'D)
The fact that you invited yourself
to join us is incredibly rude. You
didn't introduce yourself and the
sadist thing of all, you didn't get
Zuri here a chair.
Zuri masks her delight. Philips and Peters exchange a gleeful
look.
OFFICER MAXWELL
Do you know who I am?
DOROTHY
No, that's my point.
OFFICER MAXWELL
Maxwell. Officer Maxwell.
DOROTHY
Well Maxwell, in future, try be
more courteous when greeting a
lady.
OFFICER MAXWELL
(Amused)
She's got some spunk hasn't she
boys?
DOROTHY
She? Who is she Maxwell?
PETERS
Why don't we order more wine?
DOROTHY
She...Maxwell?
Maxwell puffs his chest out and stares directly at Dorothy.
OFFICER MAXWELL
Yes she. You. Woman. You are a
woman aren't you? Certainly don't
act like one. Speaking to an
officer in such a manner. I really
don't think you know who I am.
DOROTHY
I know exactly who you are. I've
met hundreds of men like you.
Privileged. Spoiled.
(MORE)
57.
DOROTHY (CONT'D)
You treat women like second class
citizens. Am I close?
Peters sprays his wine. Zuri squeaks with delight. Philips
jaw hangs wide. Maxwell jumps to the defensive.
OFFICER MAXWELL
How dare you! I don't have to
listen to this, especially from a
feral woman. A drunk one at that.
Come Zuri!
DOROTHY
She's not a dog, Maxwell.
OFFICER MAXWELL
There's only one dog here. Speaking
to a man in such a manner, how
bloody dare you. Zuri!
Zuri slowly stands - silently thanking Dorothy. Maxwell
whisks her away.
Philips rolls with laughter.
PHILIPS
I don't think I've ever been
happier.
Much laughter. Peters gathers himself.
PETERS
Where do yer plan to travel?
DOROTHY
Back to Creil or Senlis maybe?
PETERS
No. Bethune. If yer can get to
Bethune, you will be alright.
DOROTHY
Bethune is the front of the front.
No civilian may go there. Even a
soldier needs a pass from
headquarters.
PHILIPS
You can make a pass for yourself.
Privates do it all the time.
DOROTHY
Go on.
Genres:
["Drama","War","Historical"]
Ratings
Scene
21 -
Forging the Documents
INT. PARIS HOTEL. BEDROOM - NIGHT
Dorothy is forging her soldiers pass on the writing desk.
58.
PETERS (V.O)
Private...You need a name.
EXT. PARISIAN CAFÉ - NIGHT
Dorothy thinks.
PHILIPS
What about Philips?
Dorothy rolls her eyes.
DOROTHY
Denis. Denis Smith.
PETERS
Denis Smith. Smashing.
INT. PARIS HOTEL. BEDROOM - NIGHT
Dorothy is forging her soldiers pass on the writing desk.
PETERS (V.O)
Private Denis Smith has leave to be
absent from his quarters from
August 16th till August 23rd on
special business. Signed...maybe
use your left had to sign it, just
squiggle something. Commanding
Officer, 1st Leicestershire
Regiment.
Dorothy admires her work.
EXT. PARISIAN CAFÉ - NIGHT
The three bunch close, whispering their secret plans.
DOROTHY
What about the stamp?
Peters and Philips exchange a grin.
INT. PARIS HOTEL. BEDROOM - NIGHT
Dorothy is dipping a small disc into marking ink.
PETERS (V.O)
Just make sure the ink doesn't run.
As long as there is some sort of
stamp, no one will care.
Dorothy steadily removes the disc and blows on the ink.
59.
EXT. PARISIAN CAFÉ - NIGHT
Peters shows Dorothy his ID disc from around his neck.
It reads; B.PETERS No.176876, 1st Leicester Regt. R.C.
INT. PARIS HOTEL. BEDROOM - NIGHT
Dorothy is forging her ID disc out of leather.
PETERS (V.O) (CONT'D)
Yer know, just in case you...
PHILIPS (V.O)
...get blown up?
DOROTHY (V.O)
Oh how lovely. What's R.C.?
PETERS (V.O)
Roman Catholic.
Dorothy places her finishes ID disc round her neck.
PETERS (V.O) (CONT'D)
The ID disc is part of your
uniform. Wear it all the time.
EXT. PARISIAN CAFÉ - NIGHT
Peters tucks his ID disc back under his shirt.
PETERS
The tricky part is getting a sauf-
conduit to Bethune. A mayor can
sign your passport, but he may not
sign it to Bethune.
INT. MAYORS OFFICE - DAY
A dithering old FRENCH MAYOR is filling out paper work. His
eyes slowly emerge from the files.
DOROTHY
I'm leaving here in a few days and
as I have my bicycle, I want to
cycle as far as Calais, rather than
get a train there.
FRENCH MAYOR
You are leaving our beautiful
France so soon? Can't you stay
longer?
A tiny smile.
60.
DOROTHY
Unfortunately, I must be off I
fear. But I have enjoyed my visit
immensely.
The Mayor nods approvingly.
DOROTHY (V.O) (CONT'D)
I will go on to say, 'perhaps you
will give me a train pass as far as
Amiens? Then I can cycle on to
Calais'.
The Mayor moves to his desk and begins to write.
PHILIPS (V.O)
Rather a long cycle ride to Calais
don't you think?
DOROTHY (V.O)
Do be quiet Philips. This is my
story and I will tell it how I
like.
The old mayor fills out the Sauf-conduit. Name. Hair colour.
He pauses.
FRENCH MAYOR
(In French;subtitled)
Where are you travelling?
Two FRENCH GENDARME enter. Like the rest, they're mechanical.
She turns nervously and smiles but they offer no warmth.
FRENCH MAYOR (CONT'D)
(In French;subtitled)
Where are you travelling, Miss?
Less self assured.
DOROTHY
Calais.
The Mayor nods and continues to write.
Dorothy's inner panic builds but she finally blurts out...
DOROTHY (CONT'D) (CONT'D)
...Via Bethune.
The Mayor freezes and inquisitively stares at her, then he
makes eye contact with the two French Gendarme officers.
Dorothy stands firm. The eyes of the two officers burn a hole
into the back of her head. Then finally...
61.
FRENCH MAYOR
(In French;subtitled)
...Yes, of course.
The Mayor writes Bethune on the sauf-conduit.
Genres:
["War","Drama","Historical"]
Ratings
Scene
22 -
A Soldier's Disguise
EXT. PARISIAN CAFE - NIGHT
Peters and Philips nod approvingly. -
PETERS
This might just work.
DOROTHY
Of course it will. Never
underestimate a determined woman.
PHILIPS
I don't know. A woman dressed as a
soldier, might be slightly obvious.
DOROTHY
Oh, is that so?
INT. PARIS HOTEL. RECEPTION - NIGHT
Dorothy strides into the reception. Mr & Mrs Bailly stop
their bickering to greet her.
DOROTHY (CONT'D)
(In French;subtitled)
Good evening.
MR & MRS BAILLY
(In French;subtitled)
Good evening.
INT. PARIS HOTEL. BEDROOM - NIGHT
On entering the bedroom Dorothy notices her wardrobe has been
opened - her khaki uniform, now in plain view.
Placed in a wine glass on her table is a scrap of brown paper
with an address poorly scribed on it.
INT. PARIS HOTEL. RECEPTION - MOMENTS LATER
Mr & Mrs Bailly bicker in French.
DOROTHY
(Abrupt)
Someone has been in my room. This
is what I found.
62.
She throws the paper towards Mr Bailly who stares blankly at
it.
MR BAILLY
I cannot read this address.
A smile creeps over his face.
MR BAILLY (CONT'D)
That's a lesson for you never to
leave your door unlocked when you
stay in a hotel. I am the culprit.
DOROTHY
I swear I was just saving it for a
friend. Please, I begging you.
MR BAILLY
No need to beg. What you get up to
is your business.
MRS BAILLY
Your secret is safe with us dear.
EXT. RUE DE RIVOLI - NIGHT
The boulevard is bustling. Peters and Philips wait at the
exchange point, flirting badly with passing girls.
Dorothy slips through the crowd - in full soldier attire. Her
is pulled down. A cigarette hangs from her mouth. She calmly
eases next to them and puts on a mainly voice.
DOROTHY
You boys have a light?
Without hesitation, Peters lights the cigarette. They suspect
nothing.
A long pause.
Peters looks at Philips, then at Dorothy.
PETERS
(To Dorothy)
So, you heading out to the front?
Dorothy looks up.
DOROTHY
Well, that's the plan.
It takes them a moment to register.
PHILIPS
Dorothy!
63.
DOROTHY
Keep it down you fool. So, what do
you think?
PETERS
It's uncanny.
DOROTHY
Excellent. You can't see my hair
can you?
PHILIPS
No. You've done a great job.
DOROTHY
Well then. Lets have a drink.
EXT. PARISIAN CAFÉ - NIGHT
The tables are packed out. A party atmosphere. Dorothy,
Philips and Peters sit suspicious of every passing soldier.
PETERS
I'm cacking my pants.
PHILIPS
This isn't a good idea.
DOROTHY
You boys need to settle. Relax.
PETERS
Relax she says.
DOROTHY
He!
PETERS
Oh crap.
Peters gulps his wine.
DOROTHY
No one will recognise me. We just
need to stay calm.
Maxwell and Zuri appear through the crowd.
DOROTHY (CONT'D)
Oh joy. Officer Maxwell.
PETERS
What?!
Peters and Philips swing round in panic mode.
64.
DOROTHY
Just stay calm.
Maxwell is merry.
OFFICER MAXWELL
Peters! Philips! We meet again.
He stumbles, nearly wiping out the table.
OFFICER MAXWELL (CONT'D)
Whoops. Silly me. Had a few too
many I think. Why not, that's what
I say.
Dorothy drops her head to avoid eye contact but Zuri takes an
interest.
PETERS
Take it easy, sir. Maybe your bed
is calling?
OFFICER MAXWELL
Nonsense. The night is young. In
two days, I will be in the
trenches. I'm celebrating.
PHILIPS
Let me buy you a drink, sir.
Philips tries to manoeuvre him inside.
OFFICER MAXWELL
Just bring it out.
He flops into Philips' chair trying to focus on Dorothy.
OFFICER MAXWELL (CONT'D)
I don't know you. Who are you?
PETERS
Denis Smith, sir. New arrival.
OFFICER MAXWELL
Smith. Where are you from Smith?
PETERS
London, sir.
OFFICER MAXWELL
I'm sure Smith has a voice Peters.
DOROTHY
London, sir.
Zuri edges nearer, trying to get a closer look.
65.
OFFICER MAXWELL
Zuri. Please, take me seat. How
rude of me.
Zuri, impressed by Maxwell's offer.
OFFICER MAXWELL (CONT'D)
What happened to that vile woman
you were with?
PETERS
She's gone, sir.
OFFICER MAXWELL
Terrible woman. Such an attitude. I
would have knocked her block off if
she were a man.
PETERS
I'm sure you would, sir.
Zuri's eyes meet Dorothy's and the penny drops. Dorothy
silently pleads.
ZURI
Let's go darling. I want to dance.
OFFICER MAXWELL
We've only just got here.
ZURI
But I want to dance.
OFFICER MAXWELL
We can dance here.
Zuri's ice cold glare slaps him round the face.
OFFICER MAXWELL (CONT'D)
Alright, I suppose so.
He smacks Peters on the back.
OFFICER MAXWELL (CONT'D)
Have a good evening Peters.
Now his attention turns to Dorothy. He rounds the table and
sits up close to her. Through his drunken gaze, he tries to
focus.
OFFICER MAXWELL (CONT'D)
You look familiar Smith.
He stares and neither say a word until Philips returns with a
tray of drunks. As Maxwell looks closer, Zuri intentionally
tips the tray over her dress.
66.
ZURI
No! My dress!
Maxwell jumps to her aide.
OFFICER MAXWELL
Philips you bloody foul.
PHILIPS
But I didn't...
Peters stern expression sets him right. Philips changes his
tune.
PHILIPS (CONT'D) (CONT'D)
Sorry Zuri. It was an accident.
OFFICER MAXWELL
Clumsy idiot. That dress is ruined.
PHILIPS
Sorry. I'll buy her another one?
OFFICER MAXWELL
That you will.
ZURI
It's fine. I have plenty more. This
was old anyway.
Zuri takes Maxwell's hands.
ZURI (CONT'D)
I still want to dance.
OFFICER MAXWELL
Dressed like that?
ZURI
But of course. Who cares what
people think anyway.
Zuri gives Dorothy one last warm smile, before whisking
Maxwell away.
OFFICER MAXWELL
Au revoir chaps!
They leave,
PHILIPS
(Annoyed)
I can't afford a new dress, she did
it to herself!
PETERS
I think we should call it a night.
67.
DOROTHY
It seems our friend Maxwell has
learned something after all. Small
steps boys.
PETERS
Luckily he'd had a few.
DOROTHY
I make my own luck Peters. So, our
last night together.
PHILIPS
Last night?
DOROTHY
It's time. I'm ready. I can't thank
you boys enough.
PETERS
It's you we need to thank. You
should be proud. I'm proud of ya.
They toast their success.
Genres:
["War","Drama","Historical"]
Ratings
Scene
23 -
Dorothy's Disguise
EXT. PARIS HOTEL. RECEPTION OFFICE - DAY
Mr Bailly pulls down the office blinds. Large scissors snap
together in his hand.
Dorothy caresses her long hair, one last time.
MR BAILLY
(In French;subtitled)
You sure you want to do this?
DOROTHY
Well, I can't possible become a
soldier with hair like mine can I
now?
MR BAILLY
There is no turning back from here.
Once cut, you have to carry on.
Agreed?
DOROTHY
Agreed.
DOROTHY (CONT'D)
Cut away.
EXT. PARIS HOTEL. OFFICE - LATER
Locks of long hair cover the floor. In the mirror, Dorothy
runs her hands through fine bristly, short, back and sides.
68.
MR BAILLY
So what do you think?
A delighted smile.
INT. PARIS HOTEL. BATHROOM - DAY
Dorothy lathers her face with a can of undiluted Condys fluid
bathes once dries the colour of wet soil.
EXT. PARIS HOTEL - DAY
Mr & Mrs Bailly tie the package to the back of the bicycle.
Out walks Dorothy in civilian clothing but with a deep brown
face.
Through laughter...
MR BAILLY
...What has happened to your face?
DOROTHY
I wanted to give myself a bronzed
manly look, but I didn't dilute the
fluid.
Mr & Mrs Bailly chuckle.
MR BAILLY
It will fade my child. It will
fade.
DOROTHY
Thank you both for your help. For
keeping my secret that is.
Mr & Mrs Bailly comfort each other as they watch her leave.
MR BAILLY
(In French;subtitled)
It was our pleasure Miss Lawrence.
Safe journey. Good luck.
Genres:
["War","Drama","Historical"]
Ratings
Scene
24 -
Journey to the Frontline
INT. ST. LAZARE STATION - DAY
A mecca for COMMUTERS.
Dorothy pushes her overloaded bicycle through the station.
Her brown face prompting the occasional stare.
DOROTHY
(In French;subtitled)
Hello.
69.
EXT. THE TOWN OF AMIENS - DAY
Amiens is a wealthy place. No inkling of war.
The beautiful cathedral of Amiens casts a huge shadow over
Dorothy. Like a tourist, she takes in the stunning town.
SUPER: THE TOWN OF AMIENS - 18.6 MILES FROM THE FRONT LINE
Swift motors pass heavy lorries. Red Cross cars zip around.
Restaurants reverberate with laughter from French and English
Officers, eating together, over the sound of automatic
pianos.
EXT. AMIENS. COUNTRY ROAD - LATER
Amiens, in the distance. Vast countryside stretches ahead.
Dorothy skids to a stop.
A FEMALE REFUGEE, traipsing wearily along the road, heading
for Amiens. She's filthy with a few belongings and lost to
the world.
Back down the long road, more REFUGEES - casualties of war.
Dorothy's hand's tremor as a darkness sweeps over her.
A YOUNG REFUGEE covered in bandages and ruined up clothing is
stopped by Dorothy.
DOROTHY (CONT'D)
(In French; subtitled)
What happened to you?
His blank expression says everything.
DOROTHY (CONT'D)
(In French;subtitled)
You poor thing. Did you come from
Bethune?
YOUNG REFUGEE
(In French;Subtitled)
Yes. This road leads you there.
Straight into hell.
With eyes full of dread, he ambles on.
Dorothy is caught in two minds. The tremor in her hands,
ignored.
EXT. COUNTRYSIDE. ROAD - DAY
Deserted countryside. A long lonely road. The ominous
rumbling of cannon fire grows deeper. More dangerous.
THE CORN FIELDS
70.
cover the land. Disused shallow and narrow trenches,
abandoned long since; break up the landscape.
Unmarked graves grow plentiful.
The sound of the Mitrailleuse gun, tapping across the sky.
Heavy booming interjected by loud maxim fire.
THROUGH THE CORN FIELDS
a galloping horseman, tramples through the corn. His shadow
casts an imposing figure.
OFFICER CARTWRIGHT with his perfectly groomed hair and
pristine uniform lays a suspicious gaze over her.
DOROTHY
Hello.
OFFICER CARTWRIGHT
Where are you going?
DOROTHY
Bethune.
OFFICER CARTWRIGHT
You won't get there on this road.
Why, you are miles away. If you go
straight on, the only place you'll
end up is in the trenches. This
road leads to Albert.
She halts.
DOROTHY
The trenches?
She's come too far to turn back.
DOROTHY (CONT'D)
Well, we wouldn't want that would
we? Night will set in before I get
to Bethune. Maybe I should go on?
OFFICER CARTWRIGHT
Good idea. Miss?
DOROTHY
Lawrence. Dorothy.
OFFICER CARTWRIGHT
Cartwright.
COUNTRYSIDE ROAD - LATER
The sun sets behind the plumes of distant black smoke.
71.
OFFICER CARTWRIGHT (CONT'D)
Tell me, what is an English woman
doing all the way out here? Or is
it a secret?
DOROTHY
I have friend in Bethune, who I
would like to visit, whilst I still
can.
More suspicion.
OFFICER CARTWRIGHT
Bethune is no place for anyone at
this moment in history.
DOROTHY
I will still try. The danger of
Bethune being the front line does
worry me some.
OFFICER CARTWRIGHT
What do you mean?
DOROTHY
Bethune being at the front.
OFFICER CARTWRIGHT
But, you are at the front.
She doesn't understand.
OFFICER CARTWRIGHT (CONT'D)
The front embraces vast stretches
of this country, often miles away
from the cannon-mouth, and without
scenes of excitement.
DOROTHY
I'm so confused. Where are we?
OFFICER CARTWRIGHT
The front of the front of course.
Albert is three miles that way.
Heavy gunfire shatters the landscape. Albert creeps into
view. With that, Officer Cartwright gallops off through the
fields.
OFFICER CARTWRIGHT (CONT'D)
Good luck, Missy!
Genres:
["War","Drama"]
Ratings
Scene
25 -
Encounter at the Checkpoint
EXT. ALBERT. COUNTRYSIDE ROAD - LATER
Dorothy approaches a check point hut tucked into the woods.
72.
SCOTCH SENTRY (O.S)
Halt!
From the side of the hut, two stalwart SCOTCH SENTRY'S, in
only their kilts, appear. Both battle hardened.
One of the sentry's plonks his head in a bucket of water to
wash his face.
The other sentry, GINGE, a young, six foot, red head,
approaches. Bare chested. Pipe sticking out of his mouth.
Ginge has a thick Glaswegian accent
GINGE
Now what do we have here? Your
papers.
Dorothy hands them over.
GINGE (CONT'D) (CONT'D)
You can't be here. You must come
before our officers.
DOROTHY
Well, I can't go like this.
Points to her filthy face.
SCOTCH SENTRY
You can wash your face, if you
like?
DOROTHY
Sorry?
SCOTCH SENTRY
Wash ya face, in the bucket, if you
like?
DOROTHY
Oh, wash my face...the accent,
thick.
GINGE
Aye, we get it all the time!
DOROTHY
Excuse me?
GINGE
Never mind, just wash ya face.
The coldness of the water shocks her back into life. Like a
true soldier, she double dunks. Ginge, still shirtless, jumps
on a bicycle.
73.
GINGE (CONT'D)
Follow me, lassy. I'm Ginge by the
way.
INT. THE TOWN OF ALBERT. MAIN STREET - DAY
Deep shell-holes scoop up the earth - several feet deep all
along the main street. Every shop is shuttered, or
demolished. Loud booms, ever closer.
SUPER: THE TOWN OF ALBERT - SEPTEMBER 1915 - 700 YARDS FROM
THE TRENCHES
KHAKI FIGURES, some carrying tools, some unloading heavy
wagons piled high with munitions.
DOROTHY
Who are these men?
GINGE
Oh, they're engineers, probably
building up some damaged trenches.
The ready-to-go-anywhere men. Mine
layers.
DOROTHY
Then how far from here do the
trenches run?
GINGE
It depends where you stand. Over
yonder, do you see those cottage
ruins?
In the far distance, a row of bomb blasted ruined cottages.
Dorothy notes their devastation.
GINGE (CONT'D)
Front-line trenches run just a few
yards beyond them.
EXT. ALBERT TOWN CENTER - LATER
The deserted town, suddenly transformed from dismal neglect,
to a scene of abject ruin.
The Basilica Cathedral with its perpendicular Virgin Mary.
Her face hangs downward from the shelled roof.
GINGE (CONT'D)
The Germans love taking shots at
the virgin. The town's folk said
that when the Virgin falls, the war
will end.
74.
The bent, fragile Virgin, ready to crash downwards at any
moment.
GINGE (CONT'D)
Each night the German guns make
that once beautiful statue their
target for the molten lead of enemy
hate.
DOROTHY
Enemy hate?
GINGE
Nightly bombardments of the town.
This way.
IN THE RUINS
ENGLISH TROOPS play football. Laughter, destruction and joy.
GINGE (CONT'D)
You English boys are shite!
ENGLISH SOLDIER
Piss off Ginge! Whose yer bird?
GINGE
Mind yer own!
Ginge laughs it off.
Genres:
["War","Drama"]
Ratings
Scene
26 -
A Night in Albert
INT. OFFICERS ROOM - DAY
Probably the nicest room in Albert. Large table. Comfortable
chairs.
Three OFFICERS, read maps on the table. OFFICER MORTON, of
the Black Watch Regiment, puffs on his pipe. Flicking his
cane like a stern head master. He doesn't have time for
interruptions.
Dorothy hands him her Sauf-conduit. He scans it.
DOROTHY
As you will see-
OFFICER MORTON
-This is not Bethune.
DOROTHY
No. On my arrival, I discovered my
mistake. At Amiens, I was told to
keep straight on. To the best of my
knowledge, I did so and I arrived
here!
75.
OFFICER MORTON
You can't stay here, Miss.
DOROTHY
Of course...officer?
OFFICER MORTON
Morton.
DOROTHY
Of course Officer Morton. I
understand that.
Morton notices how fatigued she is and takes sympathy.
OFFICER MORTON
With the approach of the evening,
you are permitted to spend the
night, but you will start out to
Bethune at first light.
DOROTHY
Yes. Thank you.
OFFICER MORTON
(To Ginge)
Arrange a place for her to sleep,
preferably away from the men.
GINGE
Yes Sir.
INT. TAVERN. ROOM - DAY
Accommodation is found - a room over a tavern with it's
windows barricaded up and wooden boards replacing the gaping
holes from shell blasts.
Dorothy settles on the shabby couch and sleeps.
INT. TAVERN. ROOM - DAY
Sunshine creeps in through the gaps in the walls. Dorothy
wakes and takes a moment to enjoy the couch.
EXT. TAVERN. MAIN STREET - LATER
The street is deserted. No Soldiers. The growl from her
stomach could be mistaken for distant bomb blasts.
EXT. OUTSKIRTS OF ALBERT - LATER
The last house before the open countryside. A nervous YOUNG
SENTRY appears.
76.
YOUNG SENTRY
Where are you going? You can't be
here. Billy! Billy get out here!
DOROTHY
No need to shout. I'm simply
exploring to find some breakfast.
Dorothy hands the young sentry her papers.
SENTRY
Your sauf-conduit only applies to
Albert, you can't go beyond this
barrier Miss. Billy!
BILLY, the very large sentry appears from the house. A
veteran.
BILLY
You'd better report to our
officers, I think.
EXT. OFFICERS QUARTERS - DAY
Billy knocks on the door and enters. Stood partially dressed
is Morton. He isn't fazed by his appearance.
BILLY
Caught her snooping around, sir.
Dorothy looks everywhere apart from Morton in his under
pants.
DOROTHY
I wasn't snooping at all!
BILLY
She was snooping, sir.
DOROTHY
No, I wasn't you great big oath!
OFFICER MORTON
It's far too early for name
calling.
DOROTHY
I was only looking for breakfast.
OFFICER MORTON
Take Miss Lawrence to my table. I
won't be a moment.
EXT. BREAKFAST HOUSE - DAY
The breakfast house. A few yards from the trenches.
77.
Porridge, bacon and eggs, Dundee marmalade with bread and
butter fill the table.
Rival guns thundered at each other in the very near distance.
Dorothy flinches with every blast. Morton, totally adapted.
Doesn't bat an eye lid.
OFFICER MORTON (CONT'D)
Well your appearance in Albert has
certainly perked up the men. You're
the talk of the town. Why were you
trying to leave?
DOROTHY
Well, quite frankly, I was looking
for some occupied house where I
could buy my breakfast.
OFFICER MORTON
Oh I see! Well, luckily you were
caught just in time.
A huge explosion close by. Dorothy ducks but Morton sips his
coffee - unfazed.
OFFICER MORTON (CONT'D) (CONT'D)
How I do envy those people back
home. Twenty-seven weeks in those
trenches. Don't your people object
to you going about like this?
DOROTHY
They don't know.
OFFICER MORTON
But what are you doing out here?
DOROTHY
Searching for newspaper copy.
OFFICER MORTON
Oh I see. There's nothing for you
here Miss Lawrence. Go home.
DOROTHY
I can't leave without my story.
OFFICER MORTON.
I can't protect you from these men.
They're been deprived for quite a
while now. I wouldn't want any harm
to come to you.
Her mind turns to Edgar.
DOROTHY
I'd like to see them try.
78.
OFFICER MORTON
They will try. They will succeed.
Even the mildest of men get caught
up in the savagery of war. Do you
understand what I'm saying here?
Back to Edgar and his wicked ruthless smile.
DOROTHY
Yes.
OFFICER MORTON
Good. Now finish up.
Genres:
["War","Drama"]
Ratings
Scene
27 -
Stand Up for Yourself
EXT. THE TOWN OF ALBERT BORDER - LATER
Albert border. Morton hands over her papers.
OFFICER MORTON
You go along there and Bethune will
appear.
Dorothy's parcel bag flops down and she struggles to sort it.
Morton chuckles on his way back to breakfast.
EXT. ALBERT COUNTRY ROAD - MOMENTS LATER
A few hundred feet from Albert is open country fields and to
her left is vast woodland.
A group of SCOTTISH SOLDIERS relax in the grass.
SCOTCH SOLDIER (O.S)
Ya lost Missy?
DOROTHY
Excuse me?
The shirtless SCOTCH SOLDIER is a unit of a man. A poser.
SCOTCH SOLDIER
Would ya like some tea?
DOROTHY
Now, I understood tea.
Dorothy joins the group.
SCOTCH SOLDIER
I like your hat.
The soldiers sarcastically laugh.
DOROTHY
I know, it's not very flattering.
79.
SCOTCH SOLDIER
Looks flattering to me.
Vast groups of soldiers around the field enjoy the sun. Their
attention soon on Dorothy.
DOROTHY
Where's that tea you were speaking
of?
SCOTCH SOLDIER
Sorry, I lied.
His unwanted inspection, makes her tense up.
A small baby faced Lancashire soldier, SAPPER TOM DUNN, keeps
a careful watch.
Dorothy catches his eye. Dunn gives her secure nod.
SCOTCH SOLDIER (CONT'D)
You come to entertain us?
DOROTHY
Sorry, I don't understand?
SCOTCH SOLDIER
You a camp follower?
The group laugh. The towering scotch soldier stands, flexing
his huge frame.
DOROTHY
A what?
SCOTCH SOLDIER
Camp follower. Are you here to keep
us warm at night?
Dorothy abruptly stands.
DOROTHY
Certainly not with the likes of
you.
The scotch soldier grabs her by the waist, pulling her close.
His strength is spectacular.
SCOTCH SOLDIER
Now then lassy. You gonna show me a
good time?
Dorothy Panics. The mocking laughter adds to her torment.
Dorothy remembers the knife. From her inner pocket, she
flicks it against his neck.
Stunned silence.
80.
Dorothy regains control, taking a moment to think.
DOROTHY
Say sorry.
The scotch guard stands defiant. Dunn watches on, captivated.
DOROTHY (CONT'D)
Say sorry.
The knife presses deeper. Now he feels it.
SCOTCH SOLDIER
(Quietly)
Sorry.
DOROTHY
So that everyone can hear.
SCOTCH SOLDIER
Sorry, alright!
Dorothy backs away, keeping her eyes firmly fixed on the
embarrassed soldier. She collects her bike. Dunn follows.
Genres:
["Drama","War","Historical"]
Ratings
Scene
28 -
Joining the Ranks
EXT. ABANDONED CHECK POINT HUT - LATER
Dorothy parks her bike next to the abandoned hut.
Dunn, in surrender mode, cautiously approaches.
DUNN
Sapper Tom Dunn. Royal Engineers
Regiment. Lucky you had that knife.
They'd have torn yer to pieces.
Certainly put him in his place.
Good on yer.
DOROTHY
Yes well, a bit of steal across
ones neck works wonders.
DUNN
Yer I saw that. What's your name
Miss?
DOROTHY
Dorothy.
DUNN
A bit dangerous for a young gal to
be out here all alone.
DOROTHY
I'm looking for help.
81.
DUNN
Maybe I can help?
DOROTHY
Those awful men, friends of yours?
DUNN
No. Those Scottish lads wind me up.
Best to ignore them.
DOROTHY
Shall we walk? I would like to know
more about young Sapper Dunn.
EXT. SECLUDED COUNTRY ROAD - LATER
The secluded road, perfect for private conversations. They
clamber onto a grassy mound, hidden by trees.
DUNN
Will I be in your story then?
DOROTHY
Depends. If I can trust you.
DUNN
Well, my mother always said 'if
there's one thing our Tom is good
at, and that's not much, is that
he's honest'.
DOROTHY
I wouldn't want you to get in to
trouble.
DUNN
I'm already in trouble being here.
What's a little trouble between
friends?
DOROTHY
Friends are we?
DUNN
You need at least one to survive
out here.
DOROTHY
I hope you don't think that we
will, well you know, have
relations.
DUNN
I don't think my wife will be too
happy about that. Look, you need
help with something, maybe I can
assist.
82.
DOROTHY
It's a biggy.
DUNN
I'm all ears.
DOROTHY
...I want to go in the
trenches...as a soldier.
Stunned silence.
DUNN
But, why? It's hell.
DOROTHY
...Ever since I was a child, I have
been told what to do, what to
think, what to feel even. I'm here
to prove to myself that I don't
need anybodies permission,
especially a mans permission to do
what I want. I'm a strong woman, I
know that now and there's no
turning back. All I'm asking for is
some help. I know you don't know
me, I know you'll be risking a
great deal but-
Dunn doesn't need to think twice.
DUNN
-Alright.
DOROTHY
Alright, what?
DUNN
I'll help yer.
Genres:
["Drama","War"]
Ratings
Scene
29 -
Dorothy's Solitary Survival
INT. ABANDONED CHECK POINT HUT - NIGHT
Dorothy hides inside the abandoned hut. Dunn approaches.
DUNN (O.S)
It's me. I'm coming in.
Dunn lights a candle. He hands her some bread and cheese.
DUNN (CONT'D)
I've said that you're gone. You
have to take care not to appear
again in Albert as a girl. Here.
Hands her a R.E badge, name and number.
83.
DUNN (CONT'D)
Welcome to The Buffs Sapper Smith.
THE WOODS
disguise their every movement. They search for an hiding
place.
EXT. CABBAGE PLANTATION - NIGHT
The cabbage plantation is no longer in operation. The old
cabbages squelch underfoot.
Ruined cottages, a few hundred yards in front of them come
into view.
INT. RUINED COTTAGES. DUGOUT - MOMENTS LATER
Immediately below the cottages is sheltered cellar dugouts.
Dorothy throws her bike in and follows.
DUNN (CONT'D)
Now I must be off. I know where yer
are. As soon as I get off duty,
I'll report some news. Keep yer
head down, no matter what.
Dunn stealth's away.
Dorothy disrobes among the straw. Fleas and creepy crawlies
instantly mob her during her transformation into army attire.
IN THE DUGOUT
Dorothy viciously itches. Enough is enough. She pokes her
head out, selects a cottage and runs.
EXT. RUINED COTTAGE - MOMENTS LATER
The cottage door is shell-struck, hanging by its hinges. The
lightest push, sends it crashing down. Luckily the sound is
swept up by the nearby shelling.
INT. RUINED COTTAGE - CONTINUOUS
The cottage is grotesque. The roof gapes open. Water damaged.
An old sodden mattress. A table. A piano lay in ruin.
Through the large wall holes, a macabre light show. Enough to
see a cold water tap glimmer. Next to the tap, a jam cauldron
covered in brick dust.
Peering outside, the voices of BRITISH and FRENCH troops bark
orders. The wall disguises her from being seen.
84.
INT. RUINED COTTAGE - LATER
With the door barricaded up, she quenches her thirst with the
brownish cold water.
Next, the sodden mattress is dragged away from the open roof
and propped against the wall to dry.
A set of drawers, the piano and carefully placed rubble,
create an hidden bedroom. In that, a make-shift bed, made
from old straw.
Exhausted, Dorothy rests her head.
INT. RUINED COTTAGE - NIGHT
The ear piercing sound of 'ENEMY HATE', shudders the cottage.
Screams bellow from the trenches. Heavy booms, vibrate the
earth. Bullets fizz through the air.
Dorothy cowers under cover. Her trembling hands struggle to
cover her ears. Sheer terror.
INT. RUINED COTTAGE - DAY
Birds chirp. Blue skies above.
The cottage has been made more homely. The jam cauldron rests
in a dry, secluded area. A washing line stretches from door
to wall with a single pair of socks hung to dry.
INT. RUINED COTTAGE - LATER
The flee bites still irritate. Scratching in between writing.
Her hands, tremor more then ever.
INT. RUINED COTTAGE - LATER
The water tap. Rusted. Bent. She risks another drink.
INT. RUINED COTTAGE - NIGHT
Cabin fever has set in. Dejected. Slumped in her own dark
thoughts. So tired. So hungry. Disorientated.
Footsteps advance across the cabbage patch. Her eyes dart
towards the barricade. She grabs a large brick - pumped for
action.
DAYDREAM - Antoine appears. His eyes glowing with pride.
Dorothy's heart kicks back into life.
85.
ANTOINE
Why so sad?
Utter disbelief.
DOROTHY
I thought...Antoine. It can't be
you.
ANTOINE
Who else.
DOROTHY
I waited for you.
ANTOINE
And now I'm here.
The most loving embrace.
DOROTHY
I'm so afraid Antoine. I should
have listened to you. What have I
done?
ANTOINE
It will take longer to go back to
the start, than it would to reach
the end. Stay strong Dorothy.
DOROTHY
Please don't leave me.
ANTOINE
I'll never leave you.
END OF DAYDREAM
Dorothy looks around the empty cottage. Alone again.
Dunn sticks his head through an open hole.
DUNN
It's me.
DOROTHY
Antoine?
DUNN
No. Dunn. Whose Antoine?
DOROTHY
I think I'm losing my mind Dunn.
DUNN
War does that to yer. No matter how
strong you think you are.
86.
Still in state of delusion, Dorothy nods.
Dunn hands her a small cooker. In it, steamed stew with gravy
and a hutch of bread.
DUNN (CONT'D)
I've brought you this, that's why I
took so long. Had to wait at the
cook shop until everyone had left.
Dorothy exhales with delight.
DUNN (CONT'D)
Tuck in then.
Dorothy dives into the food. The best meal ever.
DOROTHY
Well, what news? I couldn't stay in
that dugout, fleas hopped in like
fighting battalions. This is
better, I hope.
DUNN
Hey, you've made it nice I see.
Dorothy forces a bread filled smile.
DUNN (CONT'D)
Just don't go observing the view. A
bullet through your head won't do
anything for you.
DOROTHY
If it gets any colder, I may be
driven to it. So what's the plan?
DUNN
It won't do for yer to turn up in
the daylight just yet, some of the
troops are still excited about
meeting yer. Wait till another
night, then we can fall into line
and march into the trenches.
Dunn prepares to head back.
DOROTHY
Where are you going? Please, stay a
little while longer.
DUNN
I have to be back. I've got a
shift. I'll come back as soon as I
can.
Dunn leaves a sullen Dorothy behind.
87.
Genres:
["War","Drama"]
Ratings
Scene
30 -
Trapped in the Chaos
INT. RUINED COTTAGE - LATER
OVER BLACK:
BRITISH OFFICER (O.S)
Stand to! Stand to! Prepare!
Huge explosions. Stern orders resonate from the trenches.
Dorothy's eyes ping open.
The cottage shakes. Dust sprays. The wooden table is the only
cover she has.
SOLDIER (O.S)
In coming!
Rifle fire zips through the cottage. The masonry explodes.
The dust showers down, engulfing the room. Loose timber
crumbles inwards - inches from Dorothy's head.
Brightly coloured star-shells explode in a fire of red and
purple. Boom after boom. Hot shrapnel falls close by. Screams
from soldiers in every direction.
Masonry finally collapses over the wooden table. Taking
Dorothy with it.
INT. RUINED COTTAGE - DAY
The wooden table is pushed away. Dorothy coughs and
splutters.
Another big swig of contaminated water helps.
Dazed, she places a couple of bullet casings in her pocket.
Too tired to do anything else she lays down and stares up at
the sky.
INT. RUINED COTTAGE - LATER
Rain pours into cottage.
Dorothy's cough hasn't gone away. The cold is unbearable. She
cradles her soaking, irritable uniform.
INT. RUINED COTTAGE - LATER
The sun shines overhead. Wet clothing hangs from the line.
Dorothy chalks off day five on a smooth part of the wall.
She's weak. Pale. Like a boxer with a concussion.
IN THE YARD
88.
Dorothy peeks over the cabbage fields. SOLDIERS perform
marching drills in the distance. She picks them off one by
one with her imaginary sniper rifle.
A few feet in the air. A hostile Taube planes whirls by. She
takes aim. Fires.
Rifle-shots ring out, hitting the plane. It spirals out of
control and crashes in the cabbage field.
Dorothy looks in amazement at her imaginary sniper rifle.
A GERMAN PILOT scrambles from the wreckage as Dorothy watches
with horror as the German runs towards the cottage.
IN THE COTTAGE
Dorothy hides under the table and conceals her panicked
breathing.
The German shoots in. The only hiding spot is Dorothy's make-
shift bedroom. He clambers under the table and comes face to
face with Dorothy.
The German is in too much of a rush to digest the reason for
Dorothy being there. He squeezes next to her. Pulls the table
over them. He draws his pistol and presses it against her
temple.
AT THE WRECKAGE
British soldiers probe the aircraft. Others search the
surrounding area.
UNDER THE TABLE
one trembling German hand covers her mouth. A cough, tries to
break free. The German clicks down the pistol hammer. If she
coughs, they're both dead.
THE WRECKAGE
is now surrounded by soldiers. Some move closer to the
cottage with rifles poised.
UNDER THE TABLE
the German peers through a small gap and sees the soldiers
enter the cottage.
IN THE COTTAGE
the two soldiers scan the room.
DAYDREAM - UNDER THE TABLE the German murmurs something over
and over. Preparing to attack. Dorothy rests her hand over
his and gestures for him to be quiet.
89.
IN THE COTTAGE
the two soldiers search everywhere. Apart from the hidden
bedroom. They leave.
UNDER THE TABLE
the fearful German shakes. He's escaped death. It's too much
for him.
Dorothy offers him a shoulder to cry on, which he takes.
UNDER THE TABLE - NIGHT
brings shadows to escape in. Before he leaves, a silent
gesture of thanks. The German sneaks away.
END OF DAYDREAM
UNDER THE TABLE
The German murmurs something over and over and repares to
attack.
Dorothy tries to rest her hand over his, but he snaps it away
and presses the pistol harder against her head.
IN THE COTTAGE
the two soldiers aim the rifles at the make-shift bedroom. A
warning shot is aimlessly fired at it.
UNDER THE TABLE
the bullet tears a hole in the table, millimeters from
Dorothy's head.
The two share a moment before the German storms out, firing.
The soldiers duck for cover and fire back. The German gets
hit, once, twice, but still keeps on coming.
Dorothy, stifles her screams.
The German succumbs to a barrage of bullets. His body slumps
to the floor - dead. Through the gap in the table, Dorothy
watches the nightmare unfold.
SOLDIER 1
Dirty kraut.
He kicks the dead German.
SOLDIER 1 (CONT'D)
Grab his leg.
The German is unceremoniously dragged out of the cottage,
leaving Dorothy devastated.
90.
Genres:
["War","Drama","Action"]
Ratings
Scene
31 -
A Night of Comfort in the Ruins
INT. RUINED COTTAGE - DAY
Dorothy stares down at the wet blood of the German. Another
painful memory to dry wash away.
INT. RUINED COTTAGE - LATER
In a world of her own, Dorothy coughs and paces. She's sick
and staving.
Marching soldiers whistle the Marseillaise. Her dry lips
prevent her from joining in.
INT. RUINED COTTAGE - NIGHT
A disoriatated Dorothy stands motionless staring up at the
stars.
Dunn enters with a bag containing food and drink.
DUNN
Dorothy. Are yer alright? Yer don't
look so good.
DOROTHY
I'm so alone.
DUNN
No you're not. I'm here now.
DOROTHY
I don't know what's real anymore.
DUNN
Don't get yourself worked up. I
know it's hard-
DOROTHY
-No you don't! You don't know the
meaning of the word.
DUNN
Dorothy...
DOROTHY
I don't know. What is happening!
DUNN
Keep yer voice down.
DOROTHY
I don't even care anymore. I don't
even care anymore!
Dunn tries to comfort her.
91.
DOROTHY (CONT'D)
Don't touch me! No one touch me.
She crumbles in a heap and Dunn comforts her. She desperately
hugs him back and sobs.
DUNN
Just say the word and I'll get you
out of here. I promise.
DOROTHY
Then I would have failed.
DUNN
Failed who? The only person you
need to prove yourself to, is you.
DOROTHY
I'd rather die then go back a
failure.
DUNN
Don't say that. You're better than
that. We need to get you warm.
He takes corned beef and bread from his back pack.
DOROTHY
Maybe I'm already dead.
DUNN
Please eat something.
Her weak, trembling hand picks up the spoon. Very slowly, she
eats. He empties heavy blankets from his back pack and wraps
her up.
DUNN (CONT'D)
I'm staying here tonight.
Dorothy's pale complexion, given an instant injection of
colour.
DOROTHY
You'll stay? Promise?
DUNN
I won't leave. Promise.
The two snuggle up close.
Genres:
["War","Drama"]
Ratings
Scene
32 -
Marching to the Trenches
INT. RUINED COTTAGE - DAY
Food fills the entirety of a make-shift table. A note, it
reads; Dorothy, a feast fit for a queen. Enjoy. Dunn.
Her eyes beam like saucer plates and tucks in.
92.
INT. RUINED COTTAGE - NIGHT
Dorothy chalks off day seven on the wall.
Dunn scales over the debris.
DUNN (CONT'D)
How yer feeling?
DOROTHY
Ready to pop.
DUNN
Good cause we're going in.
DOROTHY
Going in what?
DUNN
The trenches.
DOROTHY
What now?
DUNN
Only if you're up for it.
Dorothy takes a moment.
DOROTHY
I'm scared.
DUNN
We're all scared. It's yes or no.
Not enough time to process the danger.
DOROTHY
Yes.
EXT. ROAD. RUINED WALL - NIGHT
Like soldiers in action, they bob and weave, passed remnants
of ruined walls, passed out buildings.
EXT. BARRACKS - NIGHT
The barracks gives them cover. Now in touching distance of
the courtyard, full with high spirited soldiers.
From under the barracks outer wall, a rifle. Dunn hands it
over.
DUNN
Yer know what you're doing with
that?
93.
DOROTHY
Yes of course.
She doesn't.
DUNN
You ready?
A focused nod.
DUNN (CONT'D)
You remember exactly what to do?
An guarded nod.
DUNN (CONT'D)
You remember your regimental number
and name?
DOROTHY
Yes!
A white light floods the courtyard. Khaki figures barge out
from the barracks.
A very large N.C.O hastily moves amongst them, barking
orders.
N.C.O
Now then!
The troops fall in line.
DUNN
Ready?
She hesitates.
N.C.O (O.S)
March! Left, right, left, right...
DUNN
Dorothy?
The moment is huge. Finally, she nods. They run and arrive at
the back of the marching troops.
OVER BLACK:
Heavy breathing. Muffled shouts. Exploding shells.
DUNN (O.S) (CONT'D)
Smith!
Rifle fire. Heavy bombardment vibrates Dorothy's voice.
DOROTHY (O.S)
I can't move!
94.
SUPER: THE TRENCHES
Genres:
["War","Drama"]
Ratings
Scene
33 -
Escape from the Tunnel
INT. TRENCHES. UNDER NO MANS LAND - NIGHT
Dunn reverse crawls out of a freshly dug tunnel under No
Man's Land. Over-head, shells explode in an array of
beautiful colours.
A baby faced soldier, cowers, covered in mud and blood.
Weeping. Infected by fear.
DUNN
(To young soldier)
Where was the call?
Dunn grabs him by his collar. The soldier, a child, just
wanting home, can't speak. Dead soldiers drop from ladders. A
ferocious exchange of fire.
Dunn sticks his head in the tunnel.
DUNN (CONT'D)
Smith! Get out now!
IN THE TUNNEL
Dorothy fights a panic attack.
DOROTHY
I can't...I can't breath....Dunn!
IN THE TRENCHES
Dunn shines a light down the tunnel. The bottom of Dorothy's
boots struggle to move.
DUNN
Smith! Get out now! Smith!
Another explosion over No Man's land shudders the tunnel.
IN THE TUNNEL
soil crumbles around her.
DOROTHY
No...no.
The space is so tight. A small pocket of crumbled earth
allows her to shuffle backwards.
More bone crushing shudders and the tunnel collapses.
DAYDREAM - IN THE TRENCHES Dorothy, buried by soil, breaks
through the earth, gasping for air. She regains her bearings.
95.
Everything is still. No explosions. No noise. Just death.
Every soldier is dead. Laid to rest, in the worst possible
grave.
DOROTHY (CONT'D)
Dunn! Where are you?
Her voice echos back to her.
THROUGH THE TRENCHES
She treads over bodies, searching for signs of life.
DOROTHY (CONT'D)
Somebody! Hello?
She comes across the body of Ginge, slumped wide eyed and
shirtless.
DOROTHY (CONT'D)
Ginge, no.
The image scarred into her brain forever.
FURTHER THROUGH THE TRENCHES
She finds the bodies of Peters and Philips, supporting each
other in a sitting position.
She frantically checks if there is any sign of life.
DOROTHY (CONT'D)
Wake up! Please wake up! Please
don't leave me here.
Nothing will bring them back.
UP THE LADDER
Dorothy peeks over No Mans Land. Mist, angled wire and piles
of the dead carpet the earth. Her first step onto dangerous
ground is cautious.
Another few steps in and something crunches under her boot -
Youssef's round glasses. His blood soaked body lies close by.
BEYOND THE CORPSES
wrapped up in tangled barbed wire, lies the body of Antoine.
Instant shock. Too much to take. She lets out a scream that
could rival any bomb blast.
END OF DAYDREAM
IN THE TRENCHES
Dorothy, buried by soil, breaks through the earth -
screaming. Dunn pulls her free.
96.
DUNN
Was that close enough for yer?
The trenches, full of soldiers. Bomb blasts over-head.
Dorothy tries to process what just happened and her own
sanity.
Genres:
["War","Drama"]
Ratings
Scene
34 -
Dorothy's Traumatic War Flashback
INT. RUINED COTTAGE - LATER
Mud cloaks every inch of her uniform. Her eyes glaze over as
she coughs even harder than before. Followed by
uncontrollable hand tremors.
She chalks off the eighth day, then blacks out.
INT. RUINED COTTAGE - DAY
Hot tea warms her shivering hands. More tea spills then is
drunk. She takes comfort in the silence. Then the sobbing
begins. She rips off the uniform and stomps on the jacket.
The chaos in her mind, erupts in a fit of rage as she
destroys the home she has made.
INT. TRENCHES - NIGHT
Through the trenches, LOOK-OUTS, SOLDIERS writing letters,
cleaning weapons. Rifles poised on the trench lip.
The savage fighting is in full swing. The explosions and
destruction, brushed aside by a newly focused, or maybe
unstable Dorothy.
Dorothy marches ahead of Dunn. Her digging equipment carried
like a pro.
AT THE TUNNEL
hard soil is attacked with the rage of a thousand men. Her
axe smashing through the earth with ease. Dunn, impressed,
yet worrisome.
DEEP IN THE TUNNEL
Dorothy bores through the stone and mud like a machine.
Dunn, on constant alert for the slightest enemy sound. He
suddenly grabs the axe. They listen. Faint GERMAN voices seep
through the soil. Then the sound of a mine being ignited.
DUNN (CONT'D)
FALL BACK!
It's too late. The bomb decimates everything.
97.
Like being hit by a truck. They are blown clean out of the
tunnel. Slamming against the trench wall.
The German attack is swift. War cries bellowing out. Rifle
fire. A cauldron of hell.
ACROSS NO MANS LAND
GERMAN SOLDIERS advance. Fearless. Supported by cover fire.
BRITISH SOLDIERS fall under the bombardment. They retreat.
Dunn comes to and throws Dorothy's lifeless body over his
shoulder. He runs, but a bullet shoots through his shoulder.
Wounded, he escapes.
EXT. CATHEDRAL - NIGHT
THE VIRGIN MARY
looks down on Dorothy. The sound of war - all around. She
scrambles to her feet. The German soldiers in full attack
mode. Too defeated to run, or even care, she waits for death.
AHEAD
Dunn shoots attacking Germans.
Dunn runs a gauntlet of explosions towards her. Bullets
pierce through his leg and back. He tackles Dorothy to the
ground moments before a bomb tears apart a near-by combat
vehicle carry MEN.
Another huge explosion of fuel, metal and flesh. Dorothy
lands hard. Dazed. Blood and flesh rain down on her.
Dunn's lifeless eyes lie open.
DOROTHY
Dunn? Dunn wake up. No. Please wake
up. Please don't leave me.
Her mental state - shatters.
END OF FLASHBACK
INT. VISITING ROOM - DAY
Simon puts down his pencil with a look of dissatisfaction.
SIMON
But Dunn didn't die did he?
MARY
Simon.
98.
Simon opens Dorothy's book to the Author's note.
SIMON
You included a letter from Dunn in
your Author's note. The letter was
written in 1918. Three years after
you left Albert.
A confused Dorothy tries to process the information.
MARY
Simon, stop.
DOROTHY
It was a confusing time. I wasn't
well. I just wrote what I saw.
SIMON
Look Dorothy, I want to believe
you, I really do, but things like
this make it almost impossible to
find the truth in all this.
DOROTHY
...I know what happened to me. I
know what I achieved. Some of the
details may be blurry, but I proved
what I set out to prove. ...You're
just like those men who wanted to
bury my story. Made out like I was
insane. That I made everything up.
Had me down as a spy. Times haven't
changed at all...Now you can sit
there with your ideas and smart
mouth, trying to undermine me, or
you can listen, understand and
appreciate what I went through
...and what every woman out there
goes through when they have to
answer to men. It's up to you.
Simon shamefully bows his head.
SIMON
...I'm sorry. Please carry on.
Genres:
["War","Drama"]
Ratings
Scene
35 -
Disguised as a Man, Dorothy Defies Her Accusers
INT. RUINED COTTAGE - FLASHBACK
In a state of semi-consciousness - maybe madness, Dorothy
stands coughing, now more painful. Her trembling hand chalks
off the tenth day.
EXT. OFFICERS DOOR - NIGHT
A letter is slid under the officers door.
99.
INT. OUT BUILDING MEETING POINT - LATER
Dorothy sits staring at the door, coughing and freezing. The
door swings open. SERGEANT DUDLEY, tall, commanding, wades
in. Dorothy stands defiant.
Dudley examines her from a distance.
DOROTHY
At once I will set your mind at
rest. I am no spy.
Her passport is thrown onto the table. Dudley examines it.
DOROTHY (CONT'D)
By birth I am English, but of
Scotch and Irish descent.
Dudley doesn't know what to make of all this.
DOROTHY (CONT'D)
Well? Aren't you going to say
anything?
SERGEANT DUDLEY
Who helped you?
He checks the name on her passport.
SERGEANT DUDLEY (CONT'D)
Miss Lawrence. Who helped you?
DOROTHY
No one helped me. I made it here of
my own accord.
He doesn't believe her.
SERGEANT DUDLEY
And the uniform?
DOROTHY
I stole it. Piece by piece. Over
many months.
Dudley coldly glares at her.
SERGEANT DUDLEY
I will be back in due course.
Please remain here. Everything is
going to be fine.
He leaves.
1
00.
INT. OUT BUILDING MEETING POINT - LATER
Dorothy is curled up asleep in the small side room. The door
flies open and two GUARDS search the place as Dudley remains
on by the door.
Dorothy is then dragged to her feet.
GUARD 1
We arrest you in the king's name.
DOROTHY
Perhaps you would like to look at
my passport?
Both documents are presented. Guard 1 looks them over.
DOROTHY (CONT'D)
Before this arrest takes place, I
wish to make it clear that I am not
a spy. I am an English girl.
Guard 1 can't believe his eyes.
DOROTHY (CONT'D)
(To Dudley)
And you. You are the biggest snake
I have ever met. If I were really a
man, I'd knock that smirk right off
your face.
Guard 1 handcuffs her.
INT. HEAD QUARTERS. MESS HALL - DAY
Dorothy is led into the mess hall. A large table, occupied by
COLONEL BARRINGTON, along other OFFICERS.
Several KILTED OFFICERS and interested TROOPS, make up the
audience. Suspicion mixed with fascination.
All Dorothy can do is laugh. She simply doesn't care anymore.
COLONEL BARRINGTON
Oh, so you are a woman. All we
asked for is the truth. Don't try
to deceive us.
Through her laughter...
DOROTHY
...I'm not here to deceive. Nor am
I a spy. I must say, if a woman can
get into your trenches, good
heavens knows what the Germans can
do.
1
01.
Titters of laughter from the audience.
COLONEL BARRINGTON
They did get into the trenches. As
you very well know.
The confusion between reality and imaginary, buried deep in
her brain.
COLONEL BARRINGTON (CONT'D)
So why are you here?
Genres:
["War","Drama"]
Ratings
Scene
36 -
Dorothy's Defiance
INT. MESS HALL - LATER
The mess hall is packed out. A haze of tobacco smoke filters
through the hoards of soldiers.
DOROTHY
I mean those trenches could do with
a woman's touch. They are quite
filthy. But, you've probably never
stepped foot in them have you?
The Colonel is not impressed, but the audience love it.
The mess hall door swings opens and Officer Cartwright
hurries in.
OFFICER CARTWRIGHT
Good lord, Miss Lawrence, whatever
is the matter?
Dorothy laughs.
DOROTHY
Nothing. Here I am. That's all.
Roars of laughter from the audience.
OFFICER CARTWRIGHT
You've been here all that time?
DOROTHY
Yes, since I last saw you.
More laughter.
COLONEL BARRINGTON
Enough. The question is, what to do
with you?
DOROTHY
Exactly. What could be done with
me? Where do I sleep?
More laughter.
1
02.
COLONEL BARRINGTON
Anyhow, you have caused much
excitement at the front. This
episode will get talked about all
along the line.
The audience applaud. A curtsy sends them wild.
INT. SITTING ROOM - DAY
A knock on the door wakes Dorothy. Her khaki uniform, grows
more uncomfortable with every passing hour.
At the door, Cartwright and a SECRET INTELLIGENCE OFFICER,
beckon her.
OFFICER CARTWRIGHT
We have come to take you away.
DOROTHY
Golly. Good morning to you too. Can
I put my boots on or am I not
allowed?
EXT. HEAD QUARTERS - DAY
Two horses wait outside. Interested ONLOOKERS pass to get a
good look.
DOROTHY (CONT'D)
Have you an extra mount? As lovely
as you both are, I would rather
ride my own horse thank you very
much.
OFFICER CARTWRIGHT
We'll see what we can do.
The secret intelligence officer goes in search.
OFFICER CARTWRIGHT (CONT'D)
You've got yourself into a pretty
pickle haven't you?
If she replies, she will cry.
OFFICER CARTWRIGHT (CONT'D)
But what will they say at home?
DOROTHY
(Stern)
I simply don't care for what they
may say at home.
The secret intelligence officer returns with a mare.
1
03.
SECRET INTELLIGENCE OFFICER
You sure you can ride.
Dorothy snatches the rains.
DOROTHY
Well if I can spend ten days
undetected in this place, I'm
pretty sure I can ride a horse.
Genres:
["War","Drama","Comedy"]
Ratings
Scene
37 -
Dorothy's Interrogation
EXT. COUNTRY ROAD. ALBERT - DAY
A brisk trot. Dorothy is struggling and hunched over trying
to manage her buxom breasts. She can't really ride a horse.
The men exchange a smirk.
The mare halts. Dorothy hangs on. She grunts. Whistles. Taps
her boots. The horse stays put.
DOROTHY (CONT'D)
Now you listen to me you little
sod. I am in control here, not you.
We are females, we must stick
together.
The men try to contain their laughter.
DOROTHY (CONT'D)
Do you wish to embarrass me in
front of these chaps? Listen to me
now, I'm going to click my heels
and when I do, you move. Got it?
Dorothy clicks her heels. No movement.
OFFICER CARTWRIGHT
Well, looks like you've met your
match. She's as stubborn as you
are.
DOROTHY
(To horse)
Did you hear that? Stubborn he
said. Well I fought in a war, so
how about that!
Dorothy clicks her heels. The horse bolts. Zooms past the
men.
EXT. FRENCH HAMLET. FARM - DAY
Outside a large farmhouse. A S.I CORPS OFFICER waits beside
an army truck.
Dismounting from the horses, Dorothy creaks in agony.
1
04.
S.I CORPS OFFICER
You're not to stay here. Come with
me.
DOROTHY
Listen. Can't we rest a while?
S.I CORPS OFFICER
Get in.
The truck door swings open.
OFFICER CARTWRIGHT
Well, looks like this is it.
Farewell Miss Lawrence. I hope you
found what you were looking for.
Dorothy searches for an answer. She can't give one.
EXT. SENLIS. OFFICERS MESS - NIGHT
The army truck pulls up outside the Officer's mess.
INT. OFFICER'S MESS. SIDE ROOM - NIGHT
Dorothy is placed in a small side room. A table with food is
laid out. The S.I Officer locks the door.
INT. SIDE ROOM - NIGHT
The tiny window overlooks the court yard. Car headlights come
into view.
A five foot high, stone-faced interrogator, MR RICE, gets
out, scurries towards the mess building. Officers engrossed
in conversation follow on.
INT. OFFICERS MESS - NIGHT
A shaded lamp illuminates the documents prepared for an
interrogation.
Mr Rice, smug and ruthless, sharpens a pencil.
Dorothy is escorted in. Mr Rice keeps her waiting whilst he
finishes signing a secret document.
Dorothy clears her throat. This gets his attention.
MR RICE
I've read your previous notes and
well, it's utter nonsense in my
eyes.
1
05.
DOROTHY
How so?
MR RICE
You expect us to believe that
someone like you can fool the
British army?
DOROTHY
I don't care if you believe me of
not. The fact is, I did so.
MR RICE
Don't be so hysterical. Who do you
work for?
DOROTHY
Well, I guess I work freelance.
MR RICE
Which government, which agency do
you work for?
DOROTHY
I am not a spy.
MR RICE
You'll have to be more convincing
then that young lady.
DOROTHY
You have my passport. My documents.
MR RICE
Forged.
DOROTHY
No. Real.
MR RICE
You do know the penalty for German
spies don't you?
DOROTHY
Nien.
Defiant laughter follows.
MR RICE
Very good. Maybe Miss Lawrence will
be better suited to more
appropriate accommodation.
Genres:
["War","Drama","Historical"]
Ratings
Scene
38 -
Unwavering Conviction
INT. CELL - LATER
Dark. Damp. Cold. A mattress on the floor.
1
06.
A plate of porridge sits uneaten. Dorothy's shivers,
uncontrollably.
INT. MESS HALL - NIGHT
Another interrogation. Mr Rice eats colourful, delicious food
in front of her.
MR RICE (CONT'D)
Just admit who you really are and
all this will be forgotten.
DOROTHY
You silly small man. I pity you and
your height.
INT. CELL - NIGHT
Two guards throw her in. No food waiting. The coughing
starts. Sweats. Hand tremors, the works.
INT. MESS HALL - NIGHT
Steam filters from hot coco. Mr Rice blows to cool it. Pale.
Tired. Truly sick. Dorothy is in a state of desperation.
MR RICE
You don't look at all well Miss
Lawrence. Make things easy for
yourself. Who are you?
A huge burst of energy.
DOROTHY
I am Dorothy Lawrence. Royal
engineers 51st division. 79th
tunnelling co. A war correspondent.
An English girl who fought for my
country. Now you can sit there,
hoping I will confess to something
that I am not, or you can let me
go...Sir!
The colour drains from his face.
INT. CELL - NIGHT
Exhaustion leads to fits of crying. The fever causes
illusions. Looking down at her trembling hands - blood drips
from her fingers.
Dunn's face flashes in the shadows. She hits out. Screams.
Total madness.
1
07.
INT. QUESTIONING ROOM - DAY
A private court martial.
A middle-aged SIR CHARLES MUNRO. Very eyebrow. Sharp suited.
Speaks in private to two BRITISH GENERALS.
In attendance, several ENGLISH OFFICERS and KHAKI SOLDIERS,
poised in anticipation. A SHORTHAND REPORTER, prepares.
SIR CHARLES MUNRO
Seems like Mr Rice, our top
interrogator, couldn't crack you.
The dryness of her cough echoes through the room.
DOROTHY
There is nothing to crack.
SIR CHARLES MUNRO
We just need to make sure. You
understand that?
DOROTHY
I understand that you are men.
You're threatened by what I have
achieved. A woman no least.
SIR CHARLES MUNRO
Espionage comes with a hefty
punishment Miss Lawrence. A
summons. Imprisonment or shooting.
DOROTHY
Well you might as well shoot me
now. I am no spy, nor will I admit
to being one. I know you are deeply
worried, that I have beaten your
system. That virtually you rest in
my hands, not I in yours.
Genres:
["War","Drama"]
Ratings
Scene
39 -
Rescue from Torment
INT. CELL - DAY
Rats invade the cell and eat her porridge. Sedate and empty,
Dorothy watches them.
DAYDREAM - DUNN
sits in the shadows. Watching her. Dorothy can't bare to
look.
DUNN
Yer alright girl. Stay strong.
DOROTHY
I'm so sorry. You saved my life.
1
08.
DUNN
You would have done the same for
me. Rest now.
DOROTHY
I'll always remember you.
END OF DAYDREAM
The cell door swings open. Snapping her out of her torment.
A strong, chivalrous, CAPTAIN BARNES, warms her with a smile.
CAPTAIN BARNES
Are you Miss Lawrence?
DOROTHY
I am.
CAPTAIN BARNES
I am Captain Barnes. I have come to
take you away.
An instant hero.
INT. ARMY TRUCK - NIGHT
The army truck carries Dorothy to her new destination.
CAPTAIN BARNES (CONT'D)
If you try to escape, I'll have no
choice but to shoot you in the leg.
Understand?
DOROTHY
A bullet in the leg would be
welcomed after the torment I've
just gone through.
CAPTAIN BARNES
I'm afraid it isn't over yet.
DOROTHY
Why did you help me?
CAPTAIN BARNES
As soon as I heard a female
prisoner was being kept in squalor,
I had to act. I told them I had
acquaintance with you from back in
London. They protested of course,
but eventually, they agreed to pass
you over to me.
DOROTHY
Thank you.
1
09.
CAPTAIN BARNES
They simply don't know what to make
of you. Such conduct as yours
completely disarms these men.
DOROTHY
I've told the absolute truth.
CAPTAIN BARNES
Yes, that's what puzzles them. It
is your truthfulness really that
causes complications.
DOROTHY
Where are we going?
CAPTAIN BARNES
Somewhere safe.
Genres:
["War","Drama"]
Ratings
Scene
40 -
A Place of Refuge
EXT. LE CONVENT DE BON PASTEUR - LATER
A formidable wall, resembles a prison.
CAPTAIN BARNES (CONT'D)
You're to be placed here.
DOROTHY
A prison!
CAPTAIN BARNES
No. It is Le Convent de bon
Pasteur. It's the safest place for
you now.
INT. LE CONVENT DE BON PASTEUR - MOMENTS LATER
A great door, already ajar. A small room flanked by an iron
grill. This grill separates the room from all other parts of
the building.
The LA MERE enters. A black robed petite woman. Welcoming.
Kind eyes.
CAPTAIN BARNES (CONT'D)
Dorothy Lawrence, Sister.
The La Mere takes a silent note of Dorothy's appearance. A
damaged soldier without a war.
LA MERE
Follow me please.
One last gesture from Captain Barnes sends her on her way.
1
10.
INT. CONVENT. CORRIDORS - NIGHT
A long stone corridor. Their footsteps, hollow.
INT. CONVENT. BEDROOM - LATER
The bedroom is clean. Basic. Heaven in Dorothy's eyes. A
large stone carving of a saint, looms over the single bed.
LA MERE (CONT'D)
I feel you will be most comfortable
here.
A basic white dress. Stockings. Clean shoes. Folded neatly on
the mattress. The best gift she has ever received.
INT. BEDROOM - NIGHT
A nightmare takes Dorothy into a frenzy. She screams and
rages like a trapped rat.
Nuns attend the disturbance and try to calm her.
INT. BEDROOM - DAY
Numbness, depression force Dorothy to her bed. Nuns bring her
food. A kind word. Nothing helps.
INT. BEDROOM - NIGHT
More nuns try to control the savagery of Dorothy's night
terrors. They forcefully restrain her.
Antoine watches from the shadows.
INT. BEDROOM - DAY
With eyes weighing heavy, Dorothy peers out of the window.
It's sunny out. CHILDREN play freely with nuns in the court
yard.
At the iron gate, soldiers wait to speak with Dorothy.
INT. BEDROOM - NIGHT
The corner of the room hides Dorothy's sobs. Her memories
haunt her.
Dunn watches over her in the shadows.
1
11.
INT. BEDROOM - DAY
On the table is a blank writing pad. She wants to write, but
the tremor in her hands reminds her of her suffering.
With force, the pencil connects with the paper.
INT. BEDROOM - NIGHT
Silence. All is well. Sleep at last. A couple of nuns keep
watch.
Genres:
["War","Drama"]
Ratings
Scene
41 -
Dorothy's Triumph and Departure
INT. BEDROOM - DAY
The writing pad is full of her stories. With every word
written, the healthier she becomes.
EXT. COURT YARD - DAY
Nuns play games with the children. At least Dorothy is
outside.
Soldiers call to her from the iron grate. They have gifts.
INT. BEDROOM - DAY
Three writing pads are full. The glow in Dorothy has
returned.
SUPER: ONE MONTH LATER
Books and Souvenirs fill her bedroom. From the window,
CHILDREN shout up to Dorothy.
CHILDREN
M'delle Anglaise! Please come out
to Play!
EXT. COURT YARD - DAY
Capitaved Nuns gather around Dorothy telling her stories.
EXT. IRON BARS - DAY
Two young OFFICERS wait with papers in hand. On approaching,
Dorothy greets them like old friends.
DOROTHY
You boys are making a habit of
this.
1
12.
YOUNG OFFICER
Miss Lawrence, I'm afraid I must
ask you to sign this.
On reading the papers, her legs nearly buckle.
DOROTHY
My freedom.
EXT. LE CONVENT DE BON PASTEUR - LATER
Nuns gather to wave Dorothy away. From the back of the army
trunk, her tears of joy with sacred gifts clutched in her
hands.
EXT. BOULOGNE PORT - LATER
On boarding the boat, a last look. Full of mixed feelings.
ON THE BOAT
France, a distant speck on the horizon. Homeward bound, never
felt so euphoric.
END OF FLASHBACK
INT. FRIERN HOSPITAL. VISITING ROOM - DAY
The last full stop. Note pads full. Silence.
Mary, deeply effected, looks to Simon for a reaction, who
sits nonplussed.
DOROTHY (CONT'D)
I think that's everything.
EXT. FRIERN HOSPITAL. GROUNDS - LATER
Silence as Mary and Simon try to comprehend the story.
MARY
Such an amazing woman.
SIMON
I'll give you that. Her story on
the other hand.
MARY
You still don't believe her.
SIMON
I want too...You've got to
understand where she is Mary.
(MORE)
1
13.
SIMON (CONT'D)
Not just here, but in her head.
It's a good story, but that's all
it is.
He leaves. Mary looks back at the building one last time.
Genres:
["Drama","War"]
Ratings
Scene
42 -
Dorothy's Last Night
INT. DOROTHY'S BEDROOM - NIGHT
A small jewellery box containing the Bailly's letter, the two
bullet casings, the harebell flower and her I.D badge are
fondly examined.
Dorothy, at peace gets into bed and falls into a deep sleep,
one she'll never wake from.
EXT. BOAT - FLASHBACK
The channel never looks so beautiful. England comes into view
and Dorothy takes in every moment.
SUPER:
DOROTHY LAWRENCE SPENT TEN NIGHTS AT THE FRONT LINE.
SHE WAS INTERROGATED ON TWELVE SEPARATE OCCASIONS FOR
ESPIONAGE.
ON HER RETURN TO ENGLAND, SHE WAS FORBIDDEN TO WRITE ABOUT
EXPERIENCE UNTIL AFTER THE WAR.
IN 1919, HER BOOK 'SAPPER DOROTHY' WAS PUBLISHED. IT WAS NOT
A SUCCESS.
IN 1925, DOROTHY WAS COMMITTED TO LONDON COUNTY MENTAL
HOSPITAL FOR NERVOUS DISPOSITION AND A FRANTIC MIND.
THE NEXT THIRTY NINE YEARS, UNTIL HER DEATH, SHE SPENT IN
SECURE HOSPITALS.
TO ALL THE MEN AND WOMEN WHO RISK THEIR LIVES AND MINDS IN
THE FIGHT FOR FREEDOM. LEST WE FORGET.
FADE OUT: