Hi everyone,
This is my latest reject from BBC writersroom. I had fairly high hopes that I could break the "10 page barrier" with this one and get some feedback on where I'm going wrong but alas it was the standard rejection slip, so I would really welcome any comments or thought on where you guys think the problem areas are (just if you have the time and inclination - no pressure!). I'm aware it may be a tad on the long side so any thoughts on appropriate places for pruning would be greatly appreciated.
Thanks in advance - Bohannon.
A MAN OF SCIENCE
Episode 1 - THE FIRST LINK
SCENE 1.
INT. THE GIMLEY’S HOME – NIGHT 1
CAPTION: “ LONDON. 1888.”
A SMALL, DARK, SPARSELY FURNISHED ROOM WITH A LOW FIRE BURNING IN THE HEARTH. RAIN LASHES THE WINDOWS. THOMAS GIMLEY, BESPECTACLED AND SLIGHT, SITS AT A TABLE WRITING BY CANDLEIGHT. HIS FIANCEE ROSE, A LARGE HOMELY WOMAN, SITS ON A STOOL TRYING TO WARM HERSELF BY THE FIRE.
GIMLEY (V.O.)
My name is Thomas Gimley. I am twenty-five years old and I have been engaged to my fiancee Rose for four years. I am an aspiring writer of fiction. Or at least I was until the day I made a decision that was to change my life irrevocably. This is how it happened. It is not a fiction.
ROSE
Thomas, when will we eat again? We have no money and I am starved. I can feel my ribs poking through my gown.
GIMLEY GIVES HER AN INCREDULOUS GLANCE
ROSE
And the rent is due, Thomas. If things don't change soon we shall certainly end up in the poorhouse.
GIMLEY HOLDS UP ONE HAND TO SILENCE HER AS HE CONTINUES TO WRITE.
ROSE
Thomas! Thomas Gimley!
GIMLEY FINISHES WRITING WITH A FLOURISH AND CLOSES THE LARGE BOOK.
GIMLEY
Finished! It is finished! This... this manuscript I have been working on for the past three long years... is at last done. I am free of it.
ROSE
Well... not before time. Does this mean you'll now go out and get some gainful employment?
GIMLEY
Yeah, In a minute. Criminy, I've just put the quill down. Give us a chance.
ROSE
Thomas, did you not take an oath three years ago? Did you not say that once you had finished your book that you would concentrate all your efforts on giving me the life I deserve?
GIMLEY
Alright! Alright! Don't go on.
ROSE
I think I've been more than patient Thomas.
GIMLEY
Right. Fine. I'll go out right now shall I? To find a job, hmm? In the pitch darkness? In the pouring rain? Is that what you want?
ROSE
Yes. Finally.
GIMLEY
Of course. And why not? It's not like we'd be doing anything else with the night.
GIMLEY PUTS ON A FLIMSY LOOKING OVERCOAT
ROSE
Oh, not again, Thomas. You know my position on relations before marriage.
GIMLEY
Yes, I am familiar with your position. Lying like a stiffened board underneath umpteen layers of coarse fabric, with your knees pressed so tightly together you could scarcely squeeze fingernail between them. And Lord knows I've tried.
ROSE
Thomas, would you have me surrender my purity? Would you have me branded a fallen woman?
GIMLEY
<Shrugs> Sticks and stones…
ROSE
No, you wouldn’t. <Coyly> When we are wed my... ripe fruits will be all yours for the plucking… and, I’m sure, all the sweeter for the wait.
GIMLEY
<Under his breath> Let’s hope they haven’t gone all mouldy by then.
GIMLEY STORMS TO THE DOOR
ROSE
And bring back something to eat, Thomas.
THOMAS GIMLEY EXITS. ROSE SHIVERS AND RUBS HER ARMS TO WARM HERSELF, BEFORE PRODDING THE FEEBLE FIRE WITH A POKER. SHE LOOKS AT GIMLEY’S MANUSCRIPT. SHE LOOKS AT THE FIRE. SHE LOOKS AT THE MANUSCRIPT AGAIN.
SCENE 2.
EXT. STREET OUTSIDE BOOKSHOP – NIGHT 1
THOMAS GIMLEY TRUDGES DOWN A STREET PAST VARIOUS SHOP FRONTS. HE HAS HIS HANDS IN HIS POCKETS AND HIS COLLAR IS TURNED UP AGAINST THE COLD.
GIMLEY (V.O.)
Times were hard for a new writer. The reading public was reluctant to hear a new literary voice and preferred instead to remain loyal to their established favourites…
GIMLEY STOPS AT A SHOP WINDOW. IT IS A BOOKSHOP. IN THE BOOKSHOP WINDOW IS A POSTER READING “APPEARING TONIGHT – MR. CHARLES DICKENS READS EXCERPTS FROM HIS LATEST BLOCKBUSTER!”. THE WINDOW ALSO CONTAINS LIFE SIZED CARDBOARD CUT OUTS OF DICKENS, GRINNING, HOLDING HIS BOOK AND GIVING THE THUMBS UP.
TWO GIGGLING WOMEN JOSTLE PAST GIMLEY AND ENTER THE BOOKSHOP.
GIMLEY (V.O.)
Still, one had to admire those who could stay at the top for so long...
GIMLEY PEERS INTO THE BOOKSHOP WINDOW.
DISSOLVE TO…
SCENE 3.
INT. BOOKSHOP – NIGHT 1
CHARLES DICKENS SITS ON A CHAIR ON A SMALL STAGE. HE READS FROM A BOOK. SEATED IN FRONT OF HIM IS A CROWD CONSISTING OF MIDDLE AGED LADIES. THEY ARE HANGING INTENTLY ON HIS EVERY WORD.
DICKENS
...That was a memorable day to me, for it made great changes in me but it is the same with any life. Imagine one…
WOMAN #1
<Blurts out> Marry me!
THE WOMAN COVERS HER MOUTH IN EMBARASSMENT. THE OTHERS ARE TOO ENTHRALLED TO NOTICE.
DICKENS
Erm… imagine one selected day struck out of it, and think how different its course would have been.
WOMAN #2
I love you Charlie!
DICKENS
<Pause> Pause you who read this...
WOMAN #3
I love you more! Marry me Mr. Dickens!
WOMAN #4
No! Me! Marry me!
SOON ALL THE WOMEN ARE SHOUTING OUT TO DICKENS. HE TRIES TO IGNORE THEM.
DICKENS
Erm... Pause you who read this and think for a moment of the long chain of iron or gold...
WOMAN #5
Get ‘em off!
THE CRIES OF THE CROWD GROW LOUDER AND DICKENS RAISES HIS VOICE TO BE HEARD
DICKENS
...of thorns or flowers, that would never have bound you…
THE CROWD ARE AT FEVER PITCH. THERE ARE WOMEN SHRIEKING AND FAINTING. DICKENS HAS TO SHOUT TO BE HEARD
DICKENS
<Shouts> …but for the formation of the first link on one memorable day.
DICKENS SLAMS THE BOOK SHUT AND THERE IS RAPTUROUS APPLAUSE AND MORE HYSTERIA. HE STANDS AND TAKES A BOW.
AS DICKENS STRAIGHTENS HE IS HIT IN THE FACE BY A LARGE PAIR OF LADY’S BLOOMERS. HE STRUGGLES TO REMOVE THEM BEFORE LEAVING THE STAGE. AT THE SIDE OF THE STAGE DICKENS’ AIDE PUTS A TOWEL ROUND HIS SHOULDERS AND GIVES HIM A GLASS OF WATER.
DICKENS
<To aide> That's it – I’m finished playing live!
AS DICKENS STORMS OFF HE THROWS THE BLOOMERS ASIDE. THEY LAND AT A PILE OF BOOKS UNDER A SIGN READING "CLEARANCE SALE". TOP OF THE PILE IS A BOOK TITLED "VISIONS OF TOMORROW" BY LIONEL PLUMDYKE. THE COVER SHOWS AN ETCHED STYLE DRAWING OF THE AUTHOR LIONEL PLUMDYKE. HIS FINGERS FORM A PYRAMID AT HIS CHIN AND HE GAZES QUIZZICALLY INTO THE MIDDLE DISTANCE.
DISSOLVE TO…
SCENE 4.
INT. GENTLEMAN’S CLUB – NIGHT 1
LIONEL PLUMDYKE STANDS IN FRONT OF A FIREPLACE. HIS FINGERS FORM A PYRAMID AT HIS CHIN AND HE GAZES QUIZZICALLY INTO THE MIDDLE DISTANCE. HIS POSE MATCHES PERFECTLY THE COVER OF HIS BOOK.
PLUMDYKE
…Hmm, well that certainly is an intriguing conundrum, sir. If one was to accept such a proposal - and I must stress I am as yet undecided on the matter - but if one were then one would also have to embrace the possibility that it may set in motion a series of events that could, if unchecked, result in… <chuckles> …well, shall we say… a less than desirous conclusion.
PULL BACK TO REVEAL A WAITER STANDING BESIDE PLUMDYKE CARRYING A SILVER TRAY ON WHICH THER IS A SELECTION OF DRINKS.
WAITER
Is that - yes, sir would like a drink or…?
PLUMDYKE
I’ll leave it for now, thanks.
LORD DARNLEY APPROACHES. HE IS FLANKED BY TWO LACKEYS
LORD DARNLEY
Ah, Plumdyke. You came did you?
PLUMDYKE
Of course, Lord Darnley. And may I say, sir, how honoured I am that you would invite me along to such an auspicious occasion as this. To think that I, Lionel Plumdyke, would be here at the inaugural gathering of the Fellowship of Science - rubbing shoulders with such esteemed colleagues. My mind is literally a-boggle.
LORD DARNLEY
Yes, I suspect it is… unfortunately the invitations were sent out some time ago - before that book of yours was published…
PLUMDYKE
Ah, have you… managed to read it yet, sir?
LORD DARNLEY
No. Popped into a bookshop the other day to see if I could pick up a copy. Couldn’t find one. The chap there said they must have sold out.
PLUMDYKE
<Surprised> Sold out? Really?
LORD DARNLEY
Yes… then he remembered they’d put it in the childrens section. And there it was, right in amongst the other fairytales.
PLUMDYKE
Oh.
LORD DARNLEY
Still, I understand the rest of the fellows here have been most... entertained by your theories.
PLUMDYKE
Well, that’s pleasing to hear, sir. I'd like to think my views would spark some intelligent debate.
LORD DARNLEY
Yes, you would like to think that, wouldn't you?
LORD DARNLEY’S LACKEYS SNIGGER
LORD DARNLEY
I was particularly intrigued to hear your contribution to Mr. Darwin's ideas. How did that go again...?
PLUMDYKE
Ah yes, my canine dominance theory. Well, after exhaustive tests I concluded that dogs are of equal, and in some cases, of higher intelligence than many men…
LORD DARNLEY
Some men, clearly.
PLUMDYKE
…And that, in the not too distant future, much as Mr. Darwin said monkeys… erm… changed into people, I foresee man's "best friend" will change into a new, dominant species... Man-dogs if you will.
THE LACKEYS SNIGGER AGAIN
LORD DARNLEY
Fascinating. However I believe your book was rather thin on evidence to substantiate such a claim.
PLUMDYKE
Ah, well, yes, I can explain that…
LORD DARNLEY
I assume you documented these extensive tests you carried out, Plumdyke? I mean only an utter fool would put forward such a theory without documentary evidence to back it up.
PLUMDYKE
Well, yes, of course I documented it, but…
LORD DARNLEY
So where is it?
PLUMDYKE
Erm... the subjects I was testing... they devoured it, sir.
LORD DARNLEY
The dogs? The dogs ate your documentation?
PLUMDYKE
Yes. There was nothing I could do sir, the rascals outfoxed me - they'd lured me into a closet with some canine mind trickery and locked me in. I could see them through the keyhole as their slavery jaws tore my research notes to shreds.
LORD DARNLEY
Astonishing.
PLUMDYKE
Of course, I suspect it was all a deliberate ploy to cover up the truth and thus avoid… persecution
LORD DARNLEY
Hmm… I have to be candid here, Plumdyke.
PLUMEDYKE
Please do be… do… sir.
LORD DARNLY
When I founded the Fellowship of Science I had in mind a meeting place where forward thinking men could come together and discuss matters of scientific import that, in the end, would contribute to the bank of human knowledge about ourselves and the universe around us.
PLUMDYKE NODS EARNESTLY IN AGREEMENT.
LORD DARNLEY
But more than that, I saw it as a place where such men of science could relax and socialise in good, intelligent company. Occasionally there might be entertainment as a pleasing distraction from their important work - an operatic singer perhaps, a mime…or a clown.
PLUMDYKE
It’s a wonderful vision sir.
LORD DARNLEY
Yes… I did intend hiring these clowns in on an as-required basis. You know, they’d turn up, perform their tomfoolery and, once we were sufficiently amused, off they’d go. <Pause> What I hadn’t envisaged… was retaining a clown as an actual member of the Fellowship.
PLUMDYKE
Of course not, sir. Why would you?
LORD DARNLEY
The last thing I would want is for some of the great minds gathered here tonight to be entering into a deep meaningful discourse on revolutionary scientific theories - on the brink of gleaning an insight that might broaden human understanding… only to have a clown… pop up out of nowhere… spouting some comical nonsense that spoils it for everyone. <Pause> You can imagine how unseemly such a thing would be?
PLUMDYKE
<Laughs> That would be chaos, sir.
LORD DARNLEY
Good man, I knew you would understand. I’m sure you’ll be greatly missed and all that. Feel free to stay for a drink and good luck with your future endeavours.
LORD DARNLEY GIVES PLUMDYKE A FIRM HANDSHAKE
LORD DARNLEY
Oh, nearly time for my speech I think…
LORD DARNLEY AND HIS LACKEYS WANDER OFF LEAVING PLUMDYKE LOOKING A LITTLE PERPLEXED. HE RERUNS THE CONVERSATION IN HIS MIND BEFORE REALISING WHAT HAS JUST HAPPENED.
PLUMDYKE
Waiter! Brandy… a genleman’s measure if you will!
FADE TO BLACK
SCENE 5.
INT. GENTLEMAN’S CLUB – NIGHT 1
CAPTION: “7 MINUTES LATER”
FADE UP FROM BLACK. LORD DARNLEY STANDS AT A LECTURN ADDRESSING THE GATHERED GENTLEMEN.
LORD DARNLEY
Gentlemen, welcome to the Fellowship of Science. It is my privilege to be in the presence of so many esteemed scholars here this evening.
THE CAMERA PANS ACROSS THE VERY RESPECTABLE LOOKING GROUP OF GENTLEMEN THAT ARE LISTENING INTENTLY TO LORD DARNLEY’S SPEECH.
LORD DARNLEY
Within these four walls are among the most brilliant minds the empire has to offer.
THE CAMERA SETTLES ON PLUMDYKE AT THE FRONT OF THE GATHERED GROUP. HE IS STRUGGLING TO STAND UPRIGHT AND HIS CLOTHES LOOK DISHEVILLED – ONE SHIRTTAIL HANGS OUT.
LORD DARNLEY
Yes… it is my desire and my sincerest hope that in the years to come this institution will contribute greatly to the scientific debate…
PLUMDYKE
Boring! This is boring! <Turns to man beside him> Don’t you think this is boring?
LORD DARNLEY
Plumdyke! Please!
PLUNDYKE
<With his finger to his lips and gesturing the rest of the gathered crowd> Shhh! Listen to the man!
LORD DARNLEY
<Flustered> Erm… yes…. the scientific debate… <Regains some composure> And I would hope you all come to see this establishment as a home for your ideas and theorems and that given time…
PLUMDYKE
Yawn! Someone should patent this as a tonic for insomnia. Ha! Did you hear that one? A tonic for insomnia… this could be…. because it’s so booooring.
LORD DARNLEY
Plumdyke! You’re making a fool of yourself.
PLUMDYKE
Oh, am I? Am I sir? But isn’t that what I am, sir? A fool… a clown? Here to entertain all these brilliant minds with some japery… some high-jinks?
LORD DANLEY
Sir, if you don’t cease I’ll have you removed immediately.
PLUMDYKE
Ach! <To the crowd> Who wants to listen to this old… Lord … idiot? Or who wants to see me… erm… juggle? <Beat> Juggling my boots?
PLUMDYKE HOPS ON ONE FOOT AS HE TRIES TO GET A BOOT OFF
PLUMDYKE
<Points at one group member> Come on! You! What do you want to see? Him blabberiing on about a load of old bunkum… or me and my wondrous boots?
PLUMDYKE HAS ONE BOOT OFF AND HE WAVES IT IN FRONT OF THE MAN.
LORD DARNLEY
Ignore him, sir!
MAN IN GROUP
Actually, I’ve always quite liked jugglers.
PLUMDYKE
Ha! Then juggling you shall have! Now, prepare to be dazzled! Erm… I’ll start with one and see how we go…
PLUMDYKE PROCEEDS TO JUGGLE ONE BOOT WHILE SINGING A CIRCUS STYLE TUNE.
PLUMDYKE
<Encouraging the crowd> Come on! This is for your benefit, you know!
THE BEMUSED GENTLEMEN SLOWLY CLAP ALONG.
LORD DARNLEY
<To lackeys> Get him out of here!
SCENE 6.
EXT. OUTSIDE GENTLEMAN’S CLUB – NIGHT 1
GIMLEY TRUDGES ALONG A COBBLED STREET LINED BY GRAND LOOKING ESTABLISHEMENTS. THE FRONT DOOR OF EACH BUILDING IS AT THE TOP OF A SMALL SET OF STEPS.
A HORSE AND CARRIAGE TRUNDLE QUITE SLOWLY TOWARDS GIMLEY.
GIMLEY (V.O.)
My search for work seemed hopeless. It was at this, my lowest ebb, that I consoled myself that at least things could not get any worse.
AS THE CARRIAGE PASSES GIMLEY IS DRENCHED IN AN UNFEASIBLY HUGE SPLASH FROM THE CARRIAGE'S WHEELS - MORE LIKE THE SPLASH YOU WOULD EXPECT FROM A FAST MOVING MOTOR CAR. GIMLEY WATCHES, INCREDULOUSLY AS THE CARRIAGE TRUNDLES SLOWLY AWAY.
OVER GIMLEY’S SHOULDER WE SEE A DOOR OPENING. LIONEL PLUMDYKE IS BEING MANHANDLED NOISILY OUT OF THE DOOR BY LORD DARNLEY AND HIS TWO LACKEYS. GIMLEY TURNS TO WATCH.
PLUMDYKE
Unhand me you brutes.
JUST THEN A BOOT COMES FLYING OUT OF THE DOOR AND HITS GIMLEY SQUARE IN THE FACE.
HE COLLAPSES TO THE GROUND. A SECOND LATER PLUMDYKE IS THROWN OUT THE FRONT DOOR AND LANDS ON THE PAVEMENT BESIDE GIMLEY.
AT THE TOP OF THE STEPS STANDS LORD DARNLEY FLANKED BY HIS LACKEYS.
LORD DARNLEY
Plumdyke, you are a disgrace to the scientific community. As long as there is a breath in my body I shall see to it you never prosper!
GIMLEY HELPS PLUMDYKE TO HIS FEET
PLUMDYKE
You’ll regret this, Lord Darnley. You’ll see!
GIMLEY LEADS PLUMDYKE AWAY FROM THE DOOR WAY. DARNLEY’S LACKEYS HEAD BACK INSIDE.
LORD DARNLEY
<To himself> Yes, we shall see, Plumdyke… indeed we shall.
DARNLEY SMIRKS EVILLY, THEN CHUCKLES, THEN LETS OUT A LOUD MENACING BELLY LAUGH. BEHIND HIM THE DOOR TO THE ESTABLISHMENT SLOWLY CLOSES. HE TURNS AND IS FACED BY THE CLOSED DOOR. HE KNOCKS ON THE DOOR. THERE IS NO REPLY.
LORD DARNLEY
<Through the letterbox> Erm… can someone open the door please? <Pause> Hello?
SCENE 7.
EXT. STREET – NIGHT 1
PLUMDYKE IS CLEARLY THE WORSE FOR DRINK AND GIMLEY HAS TO SUPPORT HIM AS THEY MAKE THEIR WAY DOWN THE STREET. GIMLEY’S NOSE IS BLEEDING.
GIMLEY
I think this may be your boot, sir.
PLUMDYKE
Give me that! <Beat> Wait, what’s this… is this blood?
PLUMDYKE NOTICES GIMLEY’S NOSE
PLUMDYKE
Have you been sniffing this?
GIMLEY
No, sir.
PLUMDYKE
Well… what are you then? A rogue? A rapscallion? A ne'er do well?
GIMLEY
No, sir. I'm Gimley.
PLUMDYKE
A Gimley? I’ve never heard of one of those but it sounds quite beastly. You have my sympathies.
GIMLEY
Erm… thank you. Are you alright, sir. Can I hail you a cab?
PLUMDYKE
No need, sir. My horse and trap are but a short amble around the corner.
PLUMDYKE DRUNKENLY WAVES A CROP IN GIMLEY’S FACE.
PLUMDYKE
Allow me to give you a lift.
GIMLEY
Should you be driving, sir? You seem a little… dazed.
PLUMDYKE
What? Oh don't be such a... ninny. I've done this loads of times and have maimed but one person. And that was just a street urchin so that barely counts.
GIMLEY THINKS FOR A SECOND BEFORE TAKING THE CROP FROM PLUMDYES HAND.
GIMLEY
I think I’d best take that, sir.
PLUMDYKE
What the…! What in the name of Beelzebub’s eyes do you think you’re doing?
GIMLEY
It’s for your own good, sir.
PLUMDYKE
I demand you give me that crop.
GIMLEY
I understand how this may anger you at present, sir, but I’ll wager you'll thank me in the light of day.
PLUMDYKE
Hmm, yes you may be correct. Tomorrow you may well have my deepest gratitude… but right now, sir… I am in… can… descent with rage. Now, give me that crop!
PLUMDYKE LUNGES AT GIMLEY.
GIMLEY
Sir! Please!
THEY WRESTLE PATHETICALLY FOR A FEW SECONDS BEFORE PLUMDYKE BREAKS FREE.
PLUMDYKE
I yield, I yield. You have the beating of me this time, sir. However In future… AHA!
PLUMDYKE LUNGES FOR THE CROP ONCE MORE AND THEY GRAPPLE AGAIN
GIMLEY
Please, sir! Won’t you come to your senses!
PLUMDYKE BREAKS FREE. HE IS EXHAUSTED.
PLUMDYKE
Very well, I can see this is futile. You are indeed a worthy opponent.
GIMLEY
You’re not going to attack me again are you?
PLUMDYKE
On that you have my word as a gentleman. A cab it is.
SCENE 8.
INT. HANSOM CAB – NIGHT 1
GIMLEY AND PLUMDYKE SIT BESIDE EACH OTHER IN A HANSOM CAB. GIMLEY SITS CLOSEST TO THE CAB WINDOW.
GIMLEY (VO)
Once in the cab I sensed that behind the gentleman’s stoic facade he may have been a little… troubled.
PLUMDYKE WAILS LOUDLY
PLUMDYKE
<Sobbing>… so they don’t want me as part of their little club. So what? Do I give a fig?
GIMLEY IS UNCOMFORTABLE. HE LOOKS OUT THE WINDOW AT THE PASSING SCENERY
GIMLEY
Ooh… turning foggy again. Where does it come from…?
PLUMDYKE
I’m as good a scientist as any of them. If they would just give me a chance to prove it! Why… won’t… they… give… me… a… chance?
GIMLEY
Oh, look! A prostitute!
PLUMDYKE
Damn it, man, I’m a creator! I think - then I act. Not always in that order admittedly but isn’t it the results that count?
PLUMDYKE DABS HIS EYES WITH HIS HANDKERCHIEF
PLUMDYKE
When Newton invented gravity what did he have to prove it, eh? I’ll tell you - an apple! A damned apple! My book might not be the most comprehensive, sir, but at least I wrote something down – I didn’t turn up with a bowl of fruit and say “This should answer all your questions, gentlemen”.
GIMLEY
Sorry, did you say “your book”?
PLUMDYKE
Yes, yes… “Visions of Tomorrow”… Hardgate Publishing… available at most good literary emporiums. You… may have heard of it?
GIMLEY
No.
PLUMDYKE
Oh. Well, it has been flying off the shelves… certainly ruffled a few feathers in scientific circles I can assure you.
CUT TO…
SCENE 9.
INT. GENTLEMAN’S CLUB – NIGHT 1
A GROUP OF MEN ARE CROWDED ROUND ANOTHER MAN WHO HOLDS PLUMDYKE’S BOOK. THEY ARE LAUGHING HYSTERICALLY.
MAN #1
Look! He’s given this one a monocle!
CUT TO THE PAGE OF THE BOOK THEY ARE LOOKING AT. IT HAS A SEPIA PHOTOGRAPH OF PLUMDYKE BEAMING AS HE CARRIES A SMALL DOG DRESSED IN A TOP HAT AND TAILS AND SPORTING A MONOCLE.
MAN #2
The man’s an utter buffoon!
CUT TO…
SCENE 10.
INT. HANSOM CAB – NIGHT 1
PLUMDYKE
You see… science… science is my passion, sir. Science in all its forms… chemistry, physics, astrology… the other one… the dull one… twigs and things… the whole scientific realm is where I belong. And I shouldn’t have to write down every little thing I do to prove myself to them. That’s wasting valuable time - time that should be spent creating.
GIMLEY NODS SYMPATHETICALLY
PLUMDYKE
You know, sir, in future, to free up my… creative genius, I think it may be wise to enlist some assistance in the whole… documentation area.
GIMLEY ISN’T LISTENING. HE BRUSHES SOME FLUFF FROM HIS SHOULDER.
PLUMDYKE
Yes, I shall probably find an out of work writer or something and just employ him to do the job.
GIMLEY CLEANS HIS SPECTACLES
PLUMDYKE
<Sighs> It’s just the bother of finding someone. You know, if there were a writer here right now… <chuckles> … I’d probably employ him on the spot and be damned with it.
THERE IS A LONG PAUSE
GIMLEY
Oh! Oh! I’ve just remembered!
PLUMDYKE
Yes?
GIMLEY
Do you think we could we stop off somewhere? I need to take home a mutton pie or some hot eels or something.
PLUMDYKE
Hot… eels?
PLUMDYKE CLUTCHES HIS STOMACH
GIMLEY
Are you all right, sir?
PLUMDYKE
I suddenly feel a tad peculiar. Could I impose on you to open the window? I fear my supper of boiled pork and cabbage may be about to make a reappearance.
GIMLEY TRIES THE WINDOW
GIMLEY
It’s… It’s jammed sir.
PLUMDYKE
The bile… rising.
GIMLEY
I’ll get the driver.
PLUMDYKE
I fear it’s too late!
PLUMDYKE FUMBLES FOR HIS TOP HAT BEFORE GETTING IT BETWEEN HIS LEGS. HE LEANS FORWARD AND RETCHES LOUDLY INTO THE HAT. THIS LASTS FOR A FEW SECONDS BEFORE HE LEANS BACK WITH A GROAN.
GIMLEY
Are you…?
PLUMDYKE SUDDENLY LEANS INTO THE HAT AND RETCHES AGAIN. HE STOPS RETCHING BUT REMAINS LEANING OVER.
GIMLEY
Sir, can I…?
PLUMDYKE RAISES ONE HAND TO GIMLEY TO TELL HIM TO WAIT. THERE IS A SHORT PAUSE BEFORE PLUMDYKE LEANS BACK ONCE MORE
GIMLEY
<Pause> Would you like…?
PLUMDYKE SUDDENLY LEANS OVER AND RETCHES AGAIN BEFORE LEANING BACK AND SLUMPING INTO THE SEAT.
PLUMDYKE
Oh, that’s better. <Beat> Interestingly it tasted precisely the same coming up as it did going down - might be an area for research. Ah, this is my stop.
PLUMDYKE RAPS THE ROOF OF THE CARRIAGE, BEFORE HANDING GIMLEY HIS CARD
PLUMDYKE
My card. Perhaps our paths may cross again someday. Good evening, sir.
PLUMDYKE EXITS THE CAB. OUTSIDE HE HAS HIS HAT BETWEEEN HIS LEGS AS HE SEARCHES FOR MONEY TO PAY THE DRIVER. GIMLEY FINGERS THE CARD.
GIMLEY (V.O.)
Mr. Lionel Plumdyke intrigued me. He had charisma of that there was no doubt but there was something else An indefinable… enigmatic… brilliant quality. As the cab pulled away that night I couldn’t help feeling that I had been in the presence of greatness.
SCENE 11.
EXT. STREET OUTSIDE PLUMDYKE HOUSE – NIGHT 1
GIMLEY’S CAB DISAPPEARS DOWN THE STREET. PLUMDYKE TURNS TO FACE HIS FRONT DOOR. HE PUTS HIS HAT ON SHOWERING HIMSELF IN VOMIT. IT BARELY REGISTERS.
SCENE 12.
INT. THE GIMLEY HOUSE – NIGHT 1
GIMLEY LIES ASLEEP IN BED. HIS FIANCEE LIES BESIDE HIM, SNORING UNDER A HUGE MOUND OF BEDCLOTHES. AS GIMLEY SLEEPS GHOSTLY IMAGES OF LIONEL PLUMDYKE’S FACE CROSS THE SCREEN.
PLUMDYKE (V.O.)
…I think it may be wise to enlist some assistance in the whole… documentation area…
ANOTHER PLUMDYKE FACE CROSSES THE SCREEN
PLUMDYKE (V.O.)
…I shall probably find an out of work writer or something and just employ him to do the job…
AND ANOTHER
PLUMDYKE (V.O.)
… I’d probably employ him on the spot and be damned with it.
AND ANOTHER
PLUMDYKE (V.O.)
…have you been sniffing this?
GIMLEY WAKES WITH A START AND SITS BOLT UPRIGHT.
GIMLEY
But I’m a writer, sir!
SCENE 13.
EXT. GIMLEY HOUSE – DAY 2
GIMLEY IS UP AND ABOUT FRANTICALLY SEARCHING THE ROOM.
GIMLEY (V.O.)
The very next morning I was up with the larks. The prospect of assisting Mr. Plumdyke in his studies filled me with anticipation like never before…
ROSE ENTERS. SHE IS YAWNING AND STRETCHING.
ROSE
Is breakfast ready?
GIMLEY
Ah, Rose, have you seen my manuscript. I may need to show an example of my work and I can’t find it anywhere. How could I possibly lose nine hundred and seventy three laboriously hand written pages? I only finished it yesterday.
ROSE SHUFFLES GUILTILY OVER TO THE HEARTH AND STANDS IN FRONT OF IT BLOCKING IT FROM GIMLEY’S VIEW
ROSE
Oh… don’t you have another… copy?
GIMLEY
<Incredulous> Of the nine hundred and seventy three laboriously hand written pages that I finished writing for the first time yesterday? No. Foolish of me, but no, I don’t.
SCENE 14.
EXT. OUTSIDE PLUMDYKE HOUSE – DAY 2
GIMLEY STANDS OUTSIDE PLUMDYKE’S HOUSE. HE HOLDS PLUMDYKE’S CARD IN HIS HAND. GIMLEY APPROACHES THE FRONT DOOR. HE RINGS THE DOORBELL. PLUMDYKE ANSWERS. HE LOOKS VERY HUNGOVER AND HAS AN ICE PACK ON HIS HEAD.
PLUMDYKE
Oh, not again. Our cutlery is adequately sharp thank you very much and as far as odd jobs go I do not require a gypsy… I have a perfectly adequate female around the house for exactly that purpose.
GIMLEY
I’m not a gypsy, sir.
PLUMDYKE
No? Then who in Hades are you?
PLUMDYKE LOOKS SHIFTILY UP AND DOWN THE STREET
GIMLEY
It's me, sir. Mr.Gimley… from last night.
PLUMDYKE
Gimley? Look if this is about a wager I can virtually guarantee we never shook hands on it thus rendering it null and void. Good day.
GIMLEY
No sir. My name is Gimley. We shared a cab and you said you might have use for a writer. You gave me your card.
PLUMDYE TAKES THE CARD
GIMLEY
I am a writer, sir.
PLUMDYKE
I don't recall this conversation.
GIMLEY
Pardon me, sir, but you did seem a little... tipsy.
PLUMDYKE
Tipsy?
GIMLEY
Well, rip-roaring drunk if I'm honest. You came tumbling out of...
PLUMDYKE
How dare you, sir. I'll have you know I am a resolute teetotaller. No alcoholic beverage has ever passed my lips... save a physician’s measure of course.
GIMLEY LOOKS AT THE ICE PACK. PLUMDYKE HIDES IT BEHIND HIS BACK.
PLUMDYKE
I suffer horrendously with head demons. It is the curse of the creative mind.
GIMLEY
Yes, your scientific studies sir. You needed someone to help document your work. To allow you to free up your creative genius.
PLUMDYKE
Sir, you hardly know me and yet… you call me a creative... genius?
GIMLEY
Well... No, that's just what called yourself last night
PLUMDYKE
<Disappointed> Oh… well I suppose if I gave you my word... did I give you my word? That's hard to prove in court, you know. And those lawyers aren't cheap…
PLUMDYKE STARES AT GIMLEY. GIMLEY DOESN’T FLINCH.
PLUMDYKE
My jest... come in Mr...?
GIMLEY
Gimley.
PLUMDYKE
Enter Gimley. Enter.
GIMLEY ENTERS. PLUMDYKE LOOKS SHIFTILY UP AND DOWN THE STREET BEFORE CLOSING THE DOOR.
SCENE 15.
INT. PLUMDYKE LOUNGE/PARLOUR – DAY 2
PLUMDYKE’S LOUNGE IS WELL APPOINTED. THERE ARE ORNATE PIECES OF FURNITURE AND CABINETS FILLED WITH NICK-NACKS DOTTED AROUND AND OIL PAINTINGS ADORN THE WALLS. IN ONE CORNER THERE IS A GRAND PIANO AND AT THE WINDOW THERE IS A TABLE AND CHAIRS.
GIMLEY
This is a beautiful home sir.
PLUMDYKE
Come now Gimley, no need to be so formal. If we are to work together than I think I should like us to be on first name terms. Call me... doctor.
GIMLEY
Are you a... doctor, sir?
PLUMDYKE
Interesting question. That depends if you would like to be wretchedly unemployed… or if you’d prefer to work for a doctor?
GIMLEY
I'd very much like to work for a doctor, doctor.
PLUMDYKE
Good, but it sounds too… generic. Try "the doctor".
GIMLEY NODS
PLUMDYKE
Try it.
GIMLEY
Oh… erm, this is a beautiful home... the doctor.
PLUMDYKE
No, too medicinal... need something more befitting my status... overlord? A bit much?
GIMLEY
Perhaps
PLUMDYKE
Just call me Professor, plain old... no, wait... yes, yes, fine - Professor will suffice.
GIMLEY
Okay, Professor.
GIMLEY NOTICES A LARGE PORTRAIT ON THE WALL OF WHAT LOOKS LIKE A STERN, FROWNING MAN.
GIMLEY
Ah, your father I presume.
PLUMDYKE
You presume wrongly sir. That is my mother.
GIMLEY
Oh my apologies.
PLUMDYKE
Oh, quite alright. She was a very stern woman my ma-ma. Very serious. Didn't like jollity - couldn't abide gaiety. Wouldn't have gaiety in the house. When I was a child if she found me being gay with my playmates there’d be no pudding for a week.
GIMLEY
And your father?
PLUMDYKE
Father had his gay days.
PLUMDYKE’S SISTER ENTERS. SHE IS BAREFOOT.
PLUMDYKE
Oh, here comes big sis. <whispers to Gimley> No need to mention the... <makes drinking gesture>
SISTER
I thought I heard voices
PLUMDYKE
Sister, this is Gimley, he is to assist me in my scientific work.
SISTER
Very pleased to meet you Mr Gimley.
PLUMDYKE NOTICES HIS SISTERS BARE ANKLE.
CUT TO CLOSE UP OF PLUMDYKE’S FACE. HE HAS AN EXPRESSION THAT CAN BEST BE DESCRIBED AS UNUTTERABLE HORROR.
PLUMDYKE
By the rivers of Babylon! Cover yourself up woman! Have you no shame!
SISTER
Brother, I'm sure Mr. Gimley is a man of the world. He will have seen a lot worse than a lady's bare ankle
CUT TO CLOSE UP OF GIMLEY STARING AT THE ANKLE. HIS RACING HEARTBEAT IS AUDIBLE LIKE A DRUM.
PLUMDYKE
All the same, sister. It is hardly conduct becoming of a lady.
CUT TO EXTREME CLOSE UP OF GIMLEY. HIS EYES ARE NEARLY POPPING OUT OF HIS HEAD AND HIS HEARTBEAT IS RACING RIDICULOUSLY QUICKLY.
SISTER
Oh, very well.
THE WOMAN LEAVES THE ROOM. GIMLEY EXHALES LOUDLY, TAKES A HANDKERCHIEF FROM HIS POCKET AND WIPES HIS BROW.
PLUMDYKE
I do apologise Mr. Gimley. My sister sometimes forgets herself.
GIMLEY
That's pefectly all right, Professor. You're sister… lives with you?
PLUMDYKE
Yes. I'm afraid so... she is of marrying age but has as yet been unable to find a suitor... she is <bites his lip>... superfluous.
GIMLEY
Oh… my deepest condolences
PLUMDYKE
<Sighs loudly> Yes.
THERE IS A LONG, LONG SILENCE DURING WHICH BOTH PLUMDYKE AND GIMLEY LOOK TO THE FLOOR. IT IS AS IF THEY ARE GRIEVING A DEATH.
PLUMDYKE
Still… we all have our crosses to bear. Are you a married man, Gimley?
GIMLEY
Engaged sir.
PLUMDYKE
Plans for children?
GIMLEY
Eventually, sir.
PLUMDYKE
Good. Good. Admirable. Having children... propagating the human race is a great thing, indeed, the finest thing that can be accomplished by a man... such as you.
GIMLEY
Thank you,sir.
PLUMDYKE
Come with me, Gimley. I have something extraordinary to show you.
SCENE 16.
INT. THE LABORATORIUM – DAY 2
THE LABORATORIUM IS CRAMMED FULL OF SCIENTIFIC APPARATUS – TEST TUBES, BUNSEN BURNERS, TABLES FESTOONED WITH ALL MANNER OF GLASS STRUCTURES AND MECHANISMS. THE WALLS ARE COVERED IN PERIODIC TABLES AND (CLEARLY LABELLED) PORTRAITS OF SCIENTISTS AND OTHER ESTEEMED SCHOLARS FROM THE ERA. THERE IS A LARGE BLACKBOARD ON ONE WALL.
PLUMDYKE
Behold! The laboratorium!
GIMLEY
It's magnificent, Professor.
PLUMDYKE
Yes, this is where it all happens, Gimley. The future starts right here and, in a way you know... erm, maybe you should be taking notes here?
GIMLEY
Oh, of course
GIMLEY PRODUCES A SMALL NOTEPAD AND STARTS WRITING
PLUMDYKE
Did you get "the future starts here" bit?
GIMLEY
Yes, sir.
PLUMDYKE
In a way you know, the future... is all our tomorrows. Do you understand that Gimley?
GIMLEY
Yes I think...
PLUMDYKE
Of course you don't. Nor should you. You are a simple man who knows his place in the world and that's so, so valuable. Cherish that. Best to leave the future to those uf us who know...
PLUMDYKE CASUALLY PASSES HIS HAND THROUGH THE FLAME OF A BUNSEN BURNER
PLUMDYKE
...men of vision... men of science <He burns himself> Ah!
GIMLEY
What's this magnificent machine, sir?
PLUMDYKE
Ah you noticed that did you? You have a keen eye, Gimley. This my friend...
PLUMDYKE PULLS BACK A LARGE WHITE DUST SHEET TO REVEAL WHAT LOOKS LIKE AN ORNATE TWO SEATER SOFA WITH A LARGE BRASS LEVER IN THE CENTRE.
PLUMDYKE
...this is the Chronomotron!
AN ETHEREAL VOICE SINGS AT THE UNVEILING.
PLUMDYKE
<Pause> Erm… excuse me one second.
PLUMDYKE STORMS TO THE DOOR.
SCENE 17.
INT. PLUMDYKE LOUNGE/PARLOUR – DAY 2
SISTER IS STANDING BY THE PIANO. IN FRONT OF HER IS A MUSIC STAND. SHE SINGS SOME MORE ETHEREAL NOTES AS PLUMDYKE POKES HIS HEAD ROUND THE DOOR.
PLUMDYKE
Sister, would you please desist. One is trying to do things in here… most distracting.
SCENE 18.
INT. THE LABORATORIUM – DAY 2
PLUMDYKE RETURNS FROM THE DOOR.
PLUMDYKE
She still thinks she has a future in opera. I've told her she has a voice like a bethrottled eunuch but will she listen. Where was I? Ah yes... the Chronomotron! No longer must man be a slave to time - with this machine he can become master of his own destiny, he can control the very fabric of time itself and make it his plaything.
GIMLEY
You mean it’s a… time machine? But Professor, do you realise what this would mean?
PLUMDYKE CONSIDERS THIS
SCENE 19.
INT. HELLISH CAVES - NIGHT
PLUMDYKE BARE CHESTED WEARING LEATHER TROUSERS AND TOP HAT IN A TORCH-LIT, HELLISH LOOKING CAVE. SMALL FIRES ARE DOTTED AROUND THE GROUND. HE STANDS OVER A CHAIN GANG OF MEN AS THEY PULL LARGE HEAVY LOOKING ROPES. HE BRANDISHES A WHIP.
PLUMDYKE
Work harder, my minions. I am the master now! Ha ha ha. Work harder!
SCENE 20.
INT. THE LABORATORIUM – DAY 2
GIMLEY
Put to the right use this could mean an end to suffering for the whole of mankind.
PLUMDYKE
<Shrugs> Hmm, well….
GIMLEY
Does it work?
PLUMDYKE
It's still in its prototype stage but, yes, it is functional…care to take a trip?
GIMLEY
Of course, sir.
THE PAIR SIT IN THE CONTRAPTION.
PLUMDYKE
Ok, Gimley, where will this voyage take us?
GIMLEY
Oh, erm, well, I have always harboured deep regret that I never got a chance to say a final farewell to my dear departed grandmother. If I could go back in time and be at her bedside as her light faded... to hold her hand and tell her how much we all loved her... in spite of...
PLUMDYKE
<Not listening> To the future it is!
GIMLEY
Erm… ok... yes, never mind all that nonsense in the past. Let us voyage forward into the unknown. I wonder… what will London be like in, oh, five years time.
PLUMDYKE
Just five? How about ten?
GIMLEY
<Excited> How about… one hundred!
PLUMDYKE
I like the rub of your green, Gimley. One hundred years into the future it is. Chart a course for adventure! The future here we come!
GIMLEY
I say, Professor... I... I must admit to being a little... apprehensive, frightened even.
PLUMDYKE GRIPS GIMLEY'S HAND
PLUMDYKE
Fear not Gimley… for we have time on our side. Full speed ahead!
GIMLEY SHUTS HIS EYES TIGHT AS PLUMDYKE PULLS HARD ON THE GIANT LEVER. A LOUD HUMMING NOISE IS HEARD AND THE SETEE STARTS TO VIBRATE.
GIMLEY
Is it working, Professor?
PLUMDYKE
Can't you feel it Gimley? Every fibre of your being hurtling forward through time into the mist of the future.
GIMLEY
I can! Yes I can! I can feel it!
SISTER ENTERS.
SISTER
Brother, will your friend be staying for tea?
PLUMDYKE
I don't know. Gimley, will you...? Oh never mind! Yes. Yes he will. Can you get out of my laboratorium woman!
SISTER EXITS.
GIMLEY
Erm. how long before we get there, Professor? The future I mean?
PLUMDYKE
By my calculations, at our present rate of travel of sixty seconds every single minute... we should arrive at our destination year of nineteen hundred and eighty-eight in approximately... one... hundred... years.
GIMLEY
<Pause> Erm, sorry, Professor, in nineteen eighty-eight? We'll arrive at nineteen eighty-eight in the year nineteen eighty-eight?
PLUMDYKE
Give or take.
THERE IS A LONG SILENCE AS THEY LOOK AT EACH OTHER. THEY ARE STILL HOLDING HANDS. EVENTUALLY PLUMDYKE SPRINGS OUT OF THE CHAIR.
PLUMDYKE
Like I said it is a prototype. It's functional, if a little slow. Could perhaps do woth some fine-tuning but I don't think we're far off with that one. Time for tea I think.
SCENE 21.
INT. PLUMDYKE LOUNGE/PARLOUR – DAY 2
PLUMDYKE AND GIMLEY SIT BY THE WINDOW.
PLUMDYKE
…so you see Gimley, I shall not rest until I have proved my detractors wrong… Lord Darnley and his so-called Fellowship of Science will rue the day they snubbed Lionel Plumdyke.
GIMLEY
Good for you, sir.
SISTER APPROACHES CARRYING A TRAY OF TEA AND CAKES.
PLUMDYKE
Gracious, sister, what are these?
SISTER
They are pastries, brother. A cream horn, Mr.Gimley?
PLUMDYKE
A cream horn? What extravagance. Sister, in the past you have always made do with a lightly buttered crumpet.
SISTER
One gets tired of buttered crumpet, brother. Sometimes buttered crumpet will not suffice. On occasion a lady yearns for the guilty pleasure of a cream horn.
PLUMDYKE
Hmm, you know, Gimley, their name escapes me for the moment but I think they summed it up quite succinctly when they said blah, blah, blah, blah, blah...
GIMLEY ISN’T LISTENING. PLUMDYKE’S VOICE FADES INTO THE BACKGROUND.
CUT TO CLOSE UP OF SISTER LICKING AT A CREAM HORN.
CUT TO GIMLEY. HIS EYES ARE POPPING OUT OF HIS HEAD. HIS AUDIBLE PULSE IS RACING AGAIN. BEADS OF SWEAT APPEAR ON HIS FOREHEAD.
CUT TO SISTER. CREAM IS DRIBBLING DOWN HER CHIN.
CUT TO GIMLEY. HE IS TREMBLING. THE CREAM FROM THE CREAM HORN IS GATHERED AROUND HIS MOUTH. HE LOOKS LIKE HE IS FOAMING AT THE MOUTH.
PLUMDYKE
…blah, blah, blah which I think is probably the wittiest utterance I have ever heard. Napkin, Gimley? Gimley!
GIMLEY
<Startled> I like buns.
PLUMDYKE
Really? Well… good for you. Actually, you should try my sister’s buns.
GIMLEY SPLUTTERS
PLUMDYKE
Yes, her buns are much admired. Only she never seems to make them any more.
SISTER
Brother you know how my hands hurt from kneading the dough so.
PLUMDYKE
What you need is some form of mechanical device that will knead the dough for you. Hmm, something to take the labour out of baking.
PLUMDYKE LEAPS FROM HIS CHAIR
PLUMDYKE
There's not a moment to lose! Gimley, to the laboratorium!
GIMLEY
Now sir?
PLUMDYKE
Of course now, sir. When creativity calls it cannot be denied. It's like catching lightning in a jar. Wait… lighting in a jar... light behind glass... in a box... moving images. <Chuckles> Sometimes Gimley, my ideas are more fanciful than even I can believe.
PLUMDYKE SWEEPS OUT OF THE ROOM
GIMLEY
Erm… excuse me, miss
PLUMDYKE (OFF SCREEN)
<Shouts> GIMLEY!
SCENE 22.
INT. THE LABORATORIUM – DAY 2
GIMLEY (VO)
That afternoon in the Professors laboratory… torium… I believe I felt true awe for the first time...
PLUMDYKE IS LOOKING THROUGH A MICROSCOPE. HE WAVES GIMLEY OVER TO HAVE A LOOK. AS GIMLEY PUTS HIS EYE TO THE MICROSCOPE PLUMDYKE TURNS AWAY. CUT TO VIEW DOWN MICROSCOPE. IT SHOWS A BLACK AND WHITE PHOTO OF A LADY'S ANKLE. CUT TO LABORATORIUM. GIMLEY TAKES HIS EYE FROM THE MICROSCOPE. HE LOOKS CONFUSED. HE TAKES THE SLIDE FROM THE MICROSCOPE AND HOLDS IT UP TO THE LIGHT. JUST THEN PLUMDYKE TURNS BACK. GIMLEY QUICKLY POCKETS THE SLIDE.
GIMLEY (VO)
I thought I'd felt awe before but looking back, now that I know what awe really, really is...
PLUMDYKE IS AT THE BLACKBOARD. ON THE BOARD ARE TWO LARGE CIRCLES MARKED "DOUGH" AND AN EQUATION IN ONE CORNER. PLUMDYKE IS QUICKLY DRAWING WHILE
GESTICULATING WILDLY TO GIMLEY WHO IS FURIOUSLY SCRIBBLING IN HIS NOTEPAD. PLUMDYKE DRAWS A HIGH ARCING CURVE BETWEEN THE "DOUGH" CIRCLES. HE DRAWS LINES EMANATING FROM THE CIRCLES AS IF TO SHOW AIR ESCAPING FROM THE DOUGH. NEXT HE DRAWS A LINE NEAR THE TOP OF THE ARC AND WRITES AN X AT THE ARC'S CREST. FINALLY HE CONNECTS THE X TO THE EQUATION USING A DASHED LINE.
HE STEPS BACK PROUDLY TO ADMIRE HIS HANDIWORK. IT RESEMBLES A COMEDY PHALLUS. HE REALISES THIS AND QUICKLY STANDS IN FRONT OF THE BOARD BEFORE GIMLEY HAS A CHANCE TO SEE. PLUMDYKE THEN SEES THE PRORTRAIT OF FREUD ON THE WALL TO ONE SIDE OF THE BLACKBOARD. HE QUICKLY TURNS THE PORTRAIT TO THE WALL BEFORE GIMLEY LOOKS UP.
GIMLEY (VO)
…The previous experience that I had thought was awe - I would now describe that as... disappointment tinged with confusion... I mean it was only a circus freak with six fingers and the extra digit was little more than a danglling flap of skin so with hindisght it wasn't quite the awe-inspiring spectacle it was billed as.
SCENE 23.
INT. THE LABORATORIUM – DAY 2
PLUMDYKE STRETCHES.
PLUMDYKE
Well, Gimley… I'm spent. I've given all I can to this creation. For a while there I thought I wasn't going to make it... but do you know what kept me going?
GIMLEY
No, sir?
PLUMDYKE
The thought of all those women the length and breadth of this fine country, aglow with perspiration -leaning over their kitchen counters and just working away at their doughy mounds.
GIMLEY
That’s quite an image, sir.
PLUMDYKE
Yes, all that precious time consumed by a mundane, menial task and for what? Some buns? Well, no longer, Gimley. Now that time can be reclaimed. It is theirs to do something they really WANT to do… like darning socks… or cleaning the windows
GIMLEY
Or dusting, sir?
PLUMDYKE
Exactly Gimley.
GIMLEY
Well, if I may say so, Professor, it was indeed an honour to watch you work.
PLUMDYKE
Was it? Really? Hmm... Anyway never mind all that poppycock let’s...erm... you enjoyed it though? That's good...
THERE IS A PAUSE AS PLUMDYKE GAZES AT GIMLEY WITH A SATISFIED/APPRECIATIVE SMILE ON HIS FACE.
GIMLEY
Sir, shall we...
PLUMDYKE
Ah yes. The moment of truth beckons. Will old mother invention bless me with a healthy baby, erm, a mechanical baby or will it be... a stillborn… metal... Gimley don't write that bit down - it didn't come out as well as I'd hoped. Just leave it blank for now and I'll think up something more inspiratonal later on.
GIMLEY
Yes, Professor.
THE CAMERA PANS TO REVEAL A RICKETY WOODEN STRUCTURE SUPPORTING A LARGE WEIGHT HANGING FROM A PIECE OF STRING
PLUMDYKE
Now, I'm going to explain how this works to you Gimley and I shall do so in a slow and deliberate manner. That's not because I don't think you will understand the intricacies of the machine... well, yes, that is a factor but more importantly I want you to be sure and write it all down.
GIMLEY
I'm ready, Professor.
PLUMDYKE
Now, what I have constructed here is a mechanical replacement for the womans hands as represented by this twenty-pound weight which I have suspended from a height by a length of yarn. Am I going too quickly Gimley?
GIMLEY
I'm still with you, sir.
PLUMDYKE
Now, I place a glass basin of dough as represented by this... glass basin of dough... undermeath the mechanical kneading hands... that's the weight remember, Gimley.
GIMLEY
I've got it, Professor.
PLUMDYKE
Now, to initiate the machine I utilise a cutting implement to unleash the mechanical kneading hands thusly.
GIMLEY
Sorry sir, what was that last bit?
PLUMDYKE
I initiate the... I cut the string with scissors, like this.
PLUMDYKE CUTS THE STRING. THE WEIGHT DROPS DOWN AND SMASHES THE GLASS BASIN TO SMITHEREENS.
PLUMDYKE
<Pause> Hmm, yes, yes. Just as I suspected. I think we need a stronger basin, Gimley. We'll set her up again and give it another bash, eh?
GIMLEY
Actually sir... I was thinking about heading home.
PLUMDYKE
What? But what about the…? I feel we’re on the cusp of something here, Gimley.
GIMLEY
Well it is after seven o'clock, sir.
PLUMDYKE
Oh, is it? Past bedtime is it? Well I’ll just turn off the creative tap, shall I? <Pause> Right. <Shrugs> Fine. Go then.
GIMLEY
And we haven't actually discussed my working hours or... payment for that matter.
PLUMDYKE
Oh just go if you’re going.
GIMLEY WALKS TOWARDS THE DOOR.
GIMLEY
Goodnight then, Professor.
PLUMDYKE
<Childish mocking imitation of Gimley> Mwah, mwah, mwah, mwah, mwah, mwah, mwah.
GIMLEY
I'll see you tomorrow morning, sir?
PLUMDYKE
Whatever.
GIMLEY WALKS TO THE DOOR. AT THE DOOR HE LOOKS BACK AT THE DISGRUNTLED PLUMDYKE WHO IS PLAYING WITH/SNIFFING THE DOUGH FROM BETWEEN THE SHARDS OF THE GLASS BASIN.
GIMLEY (V.O.)
And that was when I made my decision. To remain a half-hearted, central character in my mediocre life-story or to assume utterly the supporting role in the tale of this… this most brilliant man?
PLUMDYKE POPS A BIT OF DOUGH INTO HIS MOUTH. HE CHEWS IT A LITTLE BEFORE WINCING IN PAIN.
PLUMDYKE
Ah! Confounded glass!
GIMLEY (V.O.)
And knowing what I know now… well, I dread to think of all the happy times and sad, the experiences good and… otherwise I would have missed but for the decision I made that fateful day.
GIMLEY
I’ll fetch a stronger basin, Professor.
PLUMDYKE LOOKS A LITTLE TAKEN ABACK.
PLUMDYKE
Erm… yes… yes, a stronger basin should do the trick… I think.
GIMLEY OPENS THE DOOR TO EXIT.
PLUMDYKE
Oh… and Gimley… thank you.
GIMLEY NODS AND EXITS. PLUMDYKE RETURNS TO PLAYING WITH THE DOUGH.
PLUMDYKE
<Long Pause> Hmmm… coloured dough… as a form of amusement… for children… but with more glass shards! GIMLEY!
END
